- Lesson Details
- Transcript
- References
- Instructor
- Chris Legaspi
- Subjects
- Digital Art
- Topics
- Tools and Materials
- Mediums
- Adobe Photoshop
- Duration
- 1h 40m 53s
In week six, you will continue learning how to edit photos of your artwork. The lesson carries on with instructor Chris Legaspi teaching you how to make advanced image adjustments and repair your slides. This is useful information for working with an imperfect photograph. By the end of this lesson, you should feel a lot more confident with your Photoshop editing skills.
Throughout this course, you’ll have access to the NMA community for feedback and critiques to improve your work as you progress.
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Okay, the last section we're going to cover are some
advanced image adjustment options, some tips and tricks
that we can do to really fine-tune our images, our
slides of our artwork. Now this section can get a little
complex, but don't get to meet him intimidated. We're going to
take it nice and slow and you can review at any time and the
cool thing about these techniques even though I'm
calling them advanced techniques is that you'll be able to use them
for almost every single one of your Photoshop projects moving
forward. So you're going to have a lot of time to practice
and review them as well. So with that in mind, let's get
started. Alright, so the first thing I'm going to do is open
an artwork that I want
to edit and optimize.
And this is a RAW file. So this is a RAW shot shot with my
Olympus camera.
So it's why I brought up camera RAW, remember if you're shooting
your artwork
would most DSLRs the typically the format you want
is RAW, that way you can get the most out of your picture.
You want to use a Photoshop to edit. So let's just open this,
looks pretty good.
Okay, and this drawing, this isn't my drawing. This is a
drawing by my good friend Mark Westermoe.
Okay. So the first thing I want to do is make some selections.
Let's talk about selections. Remember we talked about
marquees, different shapes, and lasso. So we know that. Let's
talk about some ways to be little bit more efficient with
the lasso.
So I typically almost always start with the big lasso. And
what I want to do is select as much as a drawing and there's
little of the background as possible. So I'm just going
to select
here and I can't get too tight.
And I don't really want to get too tight anyway.
So that was just a quick little lasso I drew
with the polygon lasso. It's my favorite.
Now we know you can do plus and minus
to make it tighter.
So let's say I want to tighten this area up right here, cut out
this little notch. I just use - hold alt to subtract.
Cut out.
Like that,
it's pretty good. Same with here.
And of course we can add to this as well at anytime. That's
why the beginning I always make my lasso fairly - I don't want
to say sloppy but you know, it's close enough for what it
needs to be because I do all my fine-tuning with the lasso
after I get
thing blocked in so this little bit of subtraction technique
there. Should be familiar with this already.
This is something you'll be doing quite a bit.
And notice how
I always start at a point that I know I can reach. See now if
I have this point here, my start point here. Whoops.
I put my start point here let's say I want to - I want to come a
little bit tighter in this section. And I know I'm going
to finish here, right here. So that means I want my start point
to be somewhere where I can reach it from here. So in this
area would be a good place to start, right?
Versus if I start to close here then I have to come
around with my endpoint. So
for example, let's say I start too close, let's say I'm
right here. I'm very close to the inside of her arm and if I
get too
far over here right now, I have to go all the way around to
close the endpoint because if I double click here,
right, it makes this weird - it closes. It goes from point to
point and it closes at a weird shape. So you don't want to do
that. What you want to do is start somewhere where you can
reach it from your end point. So I know my endpoint is going to
be around her head.
That means I want to start here, put my first starting point
somewhere where I can easily reach it from the endpoint. So
I'm going to start here and then come in.
Come in.
Right, and now my endpoint I can just reach over.
And then it'll tighten it. And don't forget to and don't forget to to to
subtract. You want to hold
alt, make your first click and then you can let go of alt. You don't
have to hold alt the whole time.
Here and also you don't want to be too ambitious with your
chunks. For example, if I want to come really tight around
this cloth,
right,
it's a better idea to do it in small chunks sort of
what you saw me do here versus try to do this whole thing. So
for example, if I try to go really tight here and then I
get kind of sloppy here and I go it's sloppy here then, you
know trying to get to the foot. I'm like, oh my God, and then,
you know, then something happens and then I close it
wrong and it's all messed up.
So don't be too ambitious with your masking, with your
selections I mean.
Start fairly small
and close it like that. Do one more here.
Like that. Let's do one more here just for fun.
Now this isn't to necessary.
I just kind of want to demonstrate some masking.
Okay.
Let me come in a little bit tighter up here.
Sometimes - let's say I'm going to start here. I know I'm going
to end here. So I'll finish - I'll start at the end near the
end points. So I know I'm going to end here and I want to start
here. So I'll put my first point here, boom, then come
across to my start point.
Then now I'm ready to close, boom. So this selection stuff
you'll get with practice.
Once you become mindful and once you get comfortable with
the selection tool,
these lassos and things. Then you want to be mindful of where
your start and end points are and then you become really fast
and efficient with it. So I have a pretty decent selection.
Some areas can go tighter. I'm using primarily
polygon lasso. Here I'm using the freeform lasso. So to draw a
nice curve
because his hair is fairly curved and organic so I can kind
of draw.
This is really
a cool option if you have a tablet, of course, it's really
hard to do this if you don't have a tablet.
Okay, so this is just some selection tips.
Now we can also save and load the mask or our selections. So
you go to selection, save selection. Under the drop-down
menu there and then it'll give you this option, the channel
it'll save it in a channel, which we'll get to in a second.
And you can name it whatever you want. Call it
outer one,
outer mask, and then if I ever -
if I ever accidentally lose it by hit undo or deselect on
accident now can you go back to my channels and it's right
here.
And remember you hold command and you click on a channel
and then you have your selection again, or you can do
select, load selection
and there it is under channel, outer one. Boom.
So remember you can save your selection,
you can save your selection by going to select, save selection
and then call it up again by select, load selection. Now
what I want to do is make a mask. Let me talk about
feathering first. Feathering and using airbrushes. What I want
to do is kind of make a mask around this figure, but I don't
want it to be really tight. So for example, let's say I want
to just clean up the background art.
Let's say using brightness
contrast.
My channel again.
What I really want to do is make a mask.
And then have it to really clean tight background like
that. But the edge is too hard. It looks a little unnatural. So
what I want to do is soften the edge. So to do that
I'm going to delete my mask.
I'm going to go to select, modify and then feather
then pick a feather radius. What feather does is it
actually softens the selection?
So five is not that soft. You can go all the way up to - you
can put a big number. Let's say - let's just - I'll show you what
100 looks like. So I'm going to put in 100,
going to do the same thing.
The selection. You can see how soft and fuzzy it got. I'll
make this
really bright so you can see how soft and fuzzy that got so
that's 100.
Use my history to undo now. Let's see go to select modify
feather. Let's just go to something a little bit more
manageable like a 20. Let's see how that looks. And then boom. So
that looks, feels a little more natural, right?
Put it against a white background. So that's a little
bit more natural edge. I like that. So I'm going to keep like that so I'm going to keep
that.
And the cool thing about using selections and masks is that if
I don't like this I can undo it, but I can also load the
original selection and they'll still have that tight edge.
Remember we can do select load selection.
And the final thing I want to do is to talk about in this
section.
Let me bring back this guy here.
Is the idea of
using -
using the brush to edit your mask will first
this thing is way too saturated.
I don't like that pinky color, I'd rather just drop it down to
like sort of a grey. That's what I did here with this image
adjustment.
Just drop it and I put it way at the top of the stack so that
it affects everything beneath it. So what I'm going to do
is apply brightness contrast to the entire thing.
At least to this layer.
Because what I want to try to do is get a nice tight -
it's not working. Sometimes
the one you grab doesn't work as well. It's still a lot of
color here it's going to make it a little more difficult to
edit.
What I'm trying to do is get the background to be nice and flat,
but I don't know if that's possible really.
I want it to be a little bit brighter.
Okay,
so it's pretty
it's pretty flat and even. Still needs some work.
And I'm going to take this guy right here, the one with the
mask, then I want to apply -
actually what I'm going to do
is
yeah, I think I can do that. I'm going to take a levels to
this guy, to the figure itself.
Sort of just tighten it up clean it up.
Get it to a nice place. Trying to find is if the right balance of
getting the half tones.
But also keeping it fairly bright and contrasty.
So that will come with taste and practice, you'll see which -
how much you can crank on your levels.
And this one is still -
this whole thing is a really annoyingly too saturated.
Just too much like little too much color everywhere. I don't
like that.
Okay.
I basically have two hue saturations working there. So
now what I want to do is kind of clean up the parts of the
mask that aren't really cleaned up. And I can do that with my
brush.
So I'm going to take a soft airbrush.
And then I'm going to
make sure I have the mask layer active, not the object layer, the
image layer, but the mask layer. And then I'm going to take
black - pure black and pure white and sort of
go into the mask and edit my mask. So right now though that
was pure black and I'm going to take pure - that was white. I'm
going to brush in black to soften the mask and what that
does is it'll make what's beneath it show through and
what's beneath it is that really to blown out version of
this drawing
and more contrasty version. That's why I didn't want to put
like a plain blank sheet of color down there.
Now these things we're going to clean up next but
it's just really helpful to see -
you can use the brush to make a really tight
selection,
really tighten mask.
And I'm going to adjust these levels again, making a
little bit brighter.
Okay, that feels pretty good.
I may just - I think I will just put a nice flat wash of color
underneath.
Okay, so I use the mask, tighten the mask. It feels
pretty good. I can even go inside, you know, some of these
areas. I'd like to have them a little bit -
little bit brighter.
Not so dusty.
That feels pretty good right there.
Okay. So now what I'm going to do is I'm going to merge my
work.
Just kind of merge what I have here.
If you see
what's happening here
it looks pretty cool. Check it out compared to the original.
Wow.
That looks cool. Now the last thing I want to do is I want to
clean up this junk up here.
So let's talk about ways to do that using masking and
vignette.
So one way is I'm going to take - I'm just going to color pick
this nice even tone down here and then I'm going to take my
gradient tool, make sure it's set
to the right settings and I'm going to sort of just drop it.
Now there's a layer -
this top layer is just my drawing, just the figure. The
bottom layer is the whole thing, but it's been adjusted.
So now this thing comes into play just to clean up this
little area. This is where the paper is bending and folding
Gonna drop that there and same thing with the bottom.
And that's another way to clean up this mess at the bottom
here. It's needs to be cropped properly. I can just use my
grab tool.
Color pick a color in the in the neighborhood
and sort of feel that in there. Use the grab like that. Now
it cleans up that space. Can also
clean up some of the other dirt in that area, same here.
Pretty much wherever I see dirt on the paper I can just
lightly clean it up.
Now luckily this was a pretty good slide so there's not a lot
of dirt there. I want to drop the opacity just a little bit just
so you can see some of the paper texture underneath. Want
to preserve some of that.
Make it a little more subtle and this one obviously
now we need to to repair that but we'll do that
in a little bit.
So now I have my figure, have this guy, and
figure blends nicely now.
Right here I could even put a mask and just clean up this
area. So little bit of cleanup it needs to do.
And I'm gonna drop the opacity of my brush a little bit.
So that's a little bit more subtle, drop it down the 40
percent. Remember the numeric keys
can do that for you as a quick shortcut.
So just tighten that mask up there little bit.
I'm going to go ahead and merge the cleanup work I did.
My figure is still there. I'm going to go ahead and merge
that. So now I have a clean, pretty clean drawing. Still have
to repair the bottom.
So it's before and after.
Now one thing we could do with the gradient tool, let's say -
let's say
I want to darken just the face, like some of the tones look
good, but the face still needs - it needs to be sharpened
as well. So what I can do is I'm going to duplicate my
layer
and I'm going to take a -
let's try brightness contrast. What I'm going to do
is
sort of darken it in a way.
Still gonna
turn down saturation and kind of got a pink on me there. I
don't like that.
Okay, and then turn down saturation again.
And then what I'm going to do is I'm going to put both of
these in a group.
Grouping is a great way to combine layer adjustments. Put
them in a group. So that's before and after with these
image adjustments then going to put a mask in there because
what I want to do is I only want to affect the head.
So I'm going to take my mask and right now it's pure white.
I'm going to invert it
to pure black. So it hides it right. The stuff is still there,
but the mask sort of hid it.
So now I'm going to take my gradient tool. I like circular
gradient for this case and I'm starting to do like a subtle
gradient from her face outward. So check this out. So we take
my gradient tool, make sure it's set to the color that I want to
reveal which is a pure white in this case.
And put it right in the center of her nose and then boom.
See that, see how the face is very subtle. I'm going to make
it a little more obvious for you. So you can see what I just
did with the gradient tool.
I'm going to -
going to delete that.
I'm going to redo that, take the gradient tool
remember, it's in a group that has a bunch of selections and
then our image adjustment, layers, layer adjustments and
then boom using gradient tool there. So what this did was it
kind of revealed what's in the folder.
So
I'm liking that. I'm not crazy about what it did to the
background.
So I can go to levels. Let's try levels. I like - so far I'm
liking levels more because it's really affecting the background
as much.
But again, I can change that as well in a minute. I'll show you
in a minute.
That's pretty good, pretty happy with that.
I'm going to delete this brightness contrast.
So now I have a nice
set of image adjustments, but they only effect the head is
because I use a gradient tool in my mask.
So let me try another example. Let's say I like this, now I
want to do a gradient tool.
Just the entire upper body from the head down. So I'm just
going to take just take another levels.
And just drop it down.
I'm liking how sharp that looks. So now I'm going to take
a gradient tool. I'm going to invert this mask.
Or let's say I'm going to invert this mask. I like what
it did to the feet actually. So now I'm going to use my
gradient tool again. And this time this time going to use
rectangular gradient, flat gradient. So now this only
affects the upper half and that's because I have a
gradient tool on the mask. So that's one quick way and notice
how its subtle it is, the transition is very subtle. Same
with this guy even though I have two new adjustments the
transition is subtle from from the new work to the old work and
that's because of the gradient tool, creates a beautiful subtlety.
And I could also just say I just let's just say for example,
I want - I just want to try it on the feet. So I like how that
looks, it looks pretty good. Now if it's a little too harsh, a
little too strong, what I can do is just drop it down because
it's on a layer I can drop it in opacity to make it more
subtle. It's one thing I like to do.
See that's a little too strong. I'll adjust on the feet.
See where needs to go is the hands. I'm going to bring that
back actually.
And then I'm going to bring it back on the hands.
And then also on the face one more in the face, so I got one
more layer.
The hands and on the face, so I'm pretty happy with that. I'm
going to make that little bit more subtle.
Yeah notice when I drop the opacity becomes super subtle.
So now I have - there you go. Now we have two sets of
adjustments.
Actually now I'm not liking this bottom one. I'm going to delete that.
I just like this levels right here. So and I use the gradient
tool in three areas. So I can go ahead and merge my work.
So before, after. Adjusted the hands. Now if I want to adjust
the sharpness I feel the face could use a little bit of
sharpening. So I'm going to duplicate my layer. I'm going
to go to filter, sharpen, unsharp mask.
And just going to sharpen it a little bit. So remember you can
play with the radius.
And the amount. Just to get the right effect that you want and
I'm going to make this pretty subtle.
Yeah I like what it's doing overall actually, it's quite nice.
Yeah, like it was doing overall. So I'm just going to
leave that then I duplicate it one more time. I'm going to
apply it again.
Actually let me -
let me make that a little bit more settled by dropping. I
have the original before sharpening, the new one after
sharpened. So I'm going to drop the opacity to like 75 percent.
So it's a little bit more subtle. I'm just going to merge
it. So I'm pretty happy with that. Before sharpening, after.
I'm going to duplicate that and I'm just going to sharpen the
face so filter, sharpen, unsharp mask. One more application only
on the face.
So that's pretty good.
So what do I do put on a mask and just like what we did with
the value correction or the contrast correction. I'm going
to invert the mask and now I'm going to use a circular
gradient and then boom.
It only affects the face, right, not any other part because
there's a mask and it uses a gradient to make it very
subtle. And now I'm going to come in and brush
and hide
some of the areas.
My brush is it a high opacity there.
I just kind of want -
I don't want the shadow details to be too sharp, but I want
like all his Line work to show through and then before, after.
Drop the opacity just a little bit to make it a little bit
more subtle.
Boom.
Merge my work. So wow looks sharper and crisper. Before,
after. It looks a lot better. Look how beautiful this line
turned out. So that's just a small sample of the
things you could do when you apply gradients - the gradient
tool to your masks.
advanced image adjustment options, some tips and tricks
that we can do to really fine-tune our images, our
slides of our artwork. Now this section can get a little
complex, but don't get to meet him intimidated. We're going to
take it nice and slow and you can review at any time and the
cool thing about these techniques even though I'm
calling them advanced techniques is that you'll be able to use them
for almost every single one of your Photoshop projects moving
forward. So you're going to have a lot of time to practice
and review them as well. So with that in mind, let's get
started. Alright, so the first thing I'm going to do is open
an artwork that I want
to edit and optimize.
And this is a RAW file. So this is a RAW shot shot with my
Olympus camera.
So it's why I brought up camera RAW, remember if you're shooting
your artwork
would most DSLRs the typically the format you want
is RAW, that way you can get the most out of your picture.
You want to use a Photoshop to edit. So let's just open this,
looks pretty good.
Okay, and this drawing, this isn't my drawing. This is a
drawing by my good friend Mark Westermoe.
Okay. So the first thing I want to do is make some selections.
Let's talk about selections. Remember we talked about
marquees, different shapes, and lasso. So we know that. Let's
talk about some ways to be little bit more efficient with
the lasso.
So I typically almost always start with the big lasso. And
what I want to do is select as much as a drawing and there's
little of the background as possible. So I'm just going
to select
here and I can't get too tight.
And I don't really want to get too tight anyway.
So that was just a quick little lasso I drew
with the polygon lasso. It's my favorite.
Now we know you can do plus and minus
to make it tighter.
So let's say I want to tighten this area up right here, cut out
this little notch. I just use - hold alt to subtract.
Cut out.
Like that,
it's pretty good. Same with here.
And of course we can add to this as well at anytime. That's
why the beginning I always make my lasso fairly - I don't want
to say sloppy but you know, it's close enough for what it
needs to be because I do all my fine-tuning with the lasso
after I get
thing blocked in so this little bit of subtraction technique
there. Should be familiar with this already.
This is something you'll be doing quite a bit.
And notice how
I always start at a point that I know I can reach. See now if
I have this point here, my start point here. Whoops.
I put my start point here let's say I want to - I want to come a
little bit tighter in this section. And I know I'm going
to finish here, right here. So that means I want my start point
to be somewhere where I can reach it from here. So in this
area would be a good place to start, right?
Versus if I start to close here then I have to come
around with my endpoint. So
for example, let's say I start too close, let's say I'm
right here. I'm very close to the inside of her arm and if I
get too
far over here right now, I have to go all the way around to
close the endpoint because if I double click here,
right, it makes this weird - it closes. It goes from point to
point and it closes at a weird shape. So you don't want to do
that. What you want to do is start somewhere where you can
reach it from your end point. So I know my endpoint is going to
be around her head.
That means I want to start here, put my first starting point
somewhere where I can easily reach it from the endpoint. So
I'm going to start here and then come in.
Come in.
Right, and now my endpoint I can just reach over.
And then it'll tighten it. And don't forget to and don't forget to to to
subtract. You want to hold
alt, make your first click and then you can let go of alt. You don't
have to hold alt the whole time.
Here and also you don't want to be too ambitious with your
chunks. For example, if I want to come really tight around
this cloth,
right,
it's a better idea to do it in small chunks sort of
what you saw me do here versus try to do this whole thing. So
for example, if I try to go really tight here and then I
get kind of sloppy here and I go it's sloppy here then, you
know trying to get to the foot. I'm like, oh my God, and then,
you know, then something happens and then I close it
wrong and it's all messed up.
So don't be too ambitious with your masking, with your
selections I mean.
Start fairly small
and close it like that. Do one more here.
Like that. Let's do one more here just for fun.
Now this isn't to necessary.
I just kind of want to demonstrate some masking.
Okay.
Let me come in a little bit tighter up here.
Sometimes - let's say I'm going to start here. I know I'm going
to end here. So I'll finish - I'll start at the end near the
end points. So I know I'm going to end here and I want to start
here. So I'll put my first point here, boom, then come
across to my start point.
Then now I'm ready to close, boom. So this selection stuff
you'll get with practice.
Once you become mindful and once you get comfortable with
the selection tool,
these lassos and things. Then you want to be mindful of where
your start and end points are and then you become really fast
and efficient with it. So I have a pretty decent selection.
Some areas can go tighter. I'm using primarily
polygon lasso. Here I'm using the freeform lasso. So to draw a
nice curve
because his hair is fairly curved and organic so I can kind
of draw.
This is really
a cool option if you have a tablet, of course, it's really
hard to do this if you don't have a tablet.
Okay, so this is just some selection tips.
Now we can also save and load the mask or our selections. So
you go to selection, save selection. Under the drop-down
menu there and then it'll give you this option, the channel
it'll save it in a channel, which we'll get to in a second.
And you can name it whatever you want. Call it
outer one,
outer mask, and then if I ever -
if I ever accidentally lose it by hit undo or deselect on
accident now can you go back to my channels and it's right
here.
And remember you hold command and you click on a channel
and then you have your selection again, or you can do
select, load selection
and there it is under channel, outer one. Boom.
So remember you can save your selection,
you can save your selection by going to select, save selection
and then call it up again by select, load selection. Now
what I want to do is make a mask. Let me talk about
feathering first. Feathering and using airbrushes. What I want
to do is kind of make a mask around this figure, but I don't
want it to be really tight. So for example, let's say I want
to just clean up the background art.
Let's say using brightness
contrast.
My channel again.
What I really want to do is make a mask.
And then have it to really clean tight background like
that. But the edge is too hard. It looks a little unnatural. So
what I want to do is soften the edge. So to do that
I'm going to delete my mask.
I'm going to go to select, modify and then feather
then pick a feather radius. What feather does is it
actually softens the selection?
So five is not that soft. You can go all the way up to - you
can put a big number. Let's say - let's just - I'll show you what
100 looks like. So I'm going to put in 100,
going to do the same thing.
The selection. You can see how soft and fuzzy it got. I'll
make this
really bright so you can see how soft and fuzzy that got so
that's 100.
Use my history to undo now. Let's see go to select modify
feather. Let's just go to something a little bit more
manageable like a 20. Let's see how that looks. And then boom. So
that looks, feels a little more natural, right?
Put it against a white background. So that's a little
bit more natural edge. I like that. So I'm going to keep like that so I'm going to keep
that.
And the cool thing about using selections and masks is that if
I don't like this I can undo it, but I can also load the
original selection and they'll still have that tight edge.
Remember we can do select load selection.
And the final thing I want to do is to talk about in this
section.
Let me bring back this guy here.
Is the idea of
using -
using the brush to edit your mask will first
this thing is way too saturated.
I don't like that pinky color, I'd rather just drop it down to
like sort of a grey. That's what I did here with this image
adjustment.
Just drop it and I put it way at the top of the stack so that
it affects everything beneath it. So what I'm going to do
is apply brightness contrast to the entire thing.
At least to this layer.
Because what I want to try to do is get a nice tight -
it's not working. Sometimes
the one you grab doesn't work as well. It's still a lot of
color here it's going to make it a little more difficult to
edit.
What I'm trying to do is get the background to be nice and flat,
but I don't know if that's possible really.
I want it to be a little bit brighter.
Okay,
so it's pretty
it's pretty flat and even. Still needs some work.
And I'm going to take this guy right here, the one with the
mask, then I want to apply -
actually what I'm going to do
is
yeah, I think I can do that. I'm going to take a levels to
this guy, to the figure itself.
Sort of just tighten it up clean it up.
Get it to a nice place. Trying to find is if the right balance of
getting the half tones.
But also keeping it fairly bright and contrasty.
So that will come with taste and practice, you'll see which -
how much you can crank on your levels.
And this one is still -
this whole thing is a really annoyingly too saturated.
Just too much like little too much color everywhere. I don't
like that.
Okay.
I basically have two hue saturations working there. So
now what I want to do is kind of clean up the parts of the
mask that aren't really cleaned up. And I can do that with my
brush.
So I'm going to take a soft airbrush.
And then I'm going to
make sure I have the mask layer active, not the object layer, the
image layer, but the mask layer. And then I'm going to take
black - pure black and pure white and sort of
go into the mask and edit my mask. So right now though that
was pure black and I'm going to take pure - that was white. I'm
going to brush in black to soften the mask and what that
does is it'll make what's beneath it show through and
what's beneath it is that really to blown out version of
this drawing
and more contrasty version. That's why I didn't want to put
like a plain blank sheet of color down there.
Now these things we're going to clean up next but
it's just really helpful to see -
you can use the brush to make a really tight
selection,
really tighten mask.
And I'm going to adjust these levels again, making a
little bit brighter.
Okay, that feels pretty good.
I may just - I think I will just put a nice flat wash of color
underneath.
Okay, so I use the mask, tighten the mask. It feels
pretty good. I can even go inside, you know, some of these
areas. I'd like to have them a little bit -
little bit brighter.
Not so dusty.
That feels pretty good right there.
Okay. So now what I'm going to do is I'm going to merge my
work.
Just kind of merge what I have here.
If you see
what's happening here
it looks pretty cool. Check it out compared to the original.
Wow.
That looks cool. Now the last thing I want to do is I want to
clean up this junk up here.
So let's talk about ways to do that using masking and
vignette.
So one way is I'm going to take - I'm just going to color pick
this nice even tone down here and then I'm going to take my
gradient tool, make sure it's set
to the right settings and I'm going to sort of just drop it.
Now there's a layer -
this top layer is just my drawing, just the figure. The
bottom layer is the whole thing, but it's been adjusted.
So now this thing comes into play just to clean up this
little area. This is where the paper is bending and folding
Gonna drop that there and same thing with the bottom.
And that's another way to clean up this mess at the bottom
here. It's needs to be cropped properly. I can just use my
grab tool.
Color pick a color in the in the neighborhood
and sort of feel that in there. Use the grab like that. Now
it cleans up that space. Can also
clean up some of the other dirt in that area, same here.
Pretty much wherever I see dirt on the paper I can just
lightly clean it up.
Now luckily this was a pretty good slide so there's not a lot
of dirt there. I want to drop the opacity just a little bit just
so you can see some of the paper texture underneath. Want
to preserve some of that.
Make it a little more subtle and this one obviously
now we need to to repair that but we'll do that
in a little bit.
So now I have my figure, have this guy, and
figure blends nicely now.
Right here I could even put a mask and just clean up this
area. So little bit of cleanup it needs to do.
And I'm gonna drop the opacity of my brush a little bit.
So that's a little bit more subtle, drop it down the 40
percent. Remember the numeric keys
can do that for you as a quick shortcut.
So just tighten that mask up there little bit.
I'm going to go ahead and merge the cleanup work I did.
My figure is still there. I'm going to go ahead and merge
that. So now I have a clean, pretty clean drawing. Still have
to repair the bottom.
So it's before and after.
Now one thing we could do with the gradient tool, let's say -
let's say
I want to darken just the face, like some of the tones look
good, but the face still needs - it needs to be sharpened
as well. So what I can do is I'm going to duplicate my
layer
and I'm going to take a -
let's try brightness contrast. What I'm going to do
is
sort of darken it in a way.
Still gonna
turn down saturation and kind of got a pink on me there. I
don't like that.
Okay, and then turn down saturation again.
And then what I'm going to do is I'm going to put both of
these in a group.
Grouping is a great way to combine layer adjustments. Put
them in a group. So that's before and after with these
image adjustments then going to put a mask in there because
what I want to do is I only want to affect the head.
So I'm going to take my mask and right now it's pure white.
I'm going to invert it
to pure black. So it hides it right. The stuff is still there,
but the mask sort of hid it.
So now I'm going to take my gradient tool. I like circular
gradient for this case and I'm starting to do like a subtle
gradient from her face outward. So check this out. So we take
my gradient tool, make sure it's set to the color that I want to
reveal which is a pure white in this case.
And put it right in the center of her nose and then boom.
See that, see how the face is very subtle. I'm going to make
it a little more obvious for you. So you can see what I just
did with the gradient tool.
I'm going to -
going to delete that.
I'm going to redo that, take the gradient tool
remember, it's in a group that has a bunch of selections and
then our image adjustment, layers, layer adjustments and
then boom using gradient tool there. So what this did was it
kind of revealed what's in the folder.
So
I'm liking that. I'm not crazy about what it did to the
background.
So I can go to levels. Let's try levels. I like - so far I'm
liking levels more because it's really affecting the background
as much.
But again, I can change that as well in a minute. I'll show you
in a minute.
That's pretty good, pretty happy with that.
I'm going to delete this brightness contrast.
So now I have a nice
set of image adjustments, but they only effect the head is
because I use a gradient tool in my mask.
So let me try another example. Let's say I like this, now I
want to do a gradient tool.
Just the entire upper body from the head down. So I'm just
going to take just take another levels.
And just drop it down.
I'm liking how sharp that looks. So now I'm going to take
a gradient tool. I'm going to invert this mask.
Or let's say I'm going to invert this mask. I like what
it did to the feet actually. So now I'm going to use my
gradient tool again. And this time this time going to use
rectangular gradient, flat gradient. So now this only
affects the upper half and that's because I have a
gradient tool on the mask. So that's one quick way and notice
how its subtle it is, the transition is very subtle. Same
with this guy even though I have two new adjustments the
transition is subtle from from the new work to the old work and
that's because of the gradient tool, creates a beautiful subtlety.
And I could also just say I just let's just say for example,
I want - I just want to try it on the feet. So I like how that
looks, it looks pretty good. Now if it's a little too harsh, a
little too strong, what I can do is just drop it down because
it's on a layer I can drop it in opacity to make it more
subtle. It's one thing I like to do.
See that's a little too strong. I'll adjust on the feet.
See where needs to go is the hands. I'm going to bring that
back actually.
And then I'm going to bring it back on the hands.
And then also on the face one more in the face, so I got one
more layer.
The hands and on the face, so I'm pretty happy with that. I'm
going to make that little bit more subtle.
Yeah notice when I drop the opacity becomes super subtle.
So now I have - there you go. Now we have two sets of
adjustments.
Actually now I'm not liking this bottom one. I'm going to delete that.
I just like this levels right here. So and I use the gradient
tool in three areas. So I can go ahead and merge my work.
So before, after. Adjusted the hands. Now if I want to adjust
the sharpness I feel the face could use a little bit of
sharpening. So I'm going to duplicate my layer. I'm going
to go to filter, sharpen, unsharp mask.
And just going to sharpen it a little bit. So remember you can
play with the radius.
And the amount. Just to get the right effect that you want and
I'm going to make this pretty subtle.
Yeah I like what it's doing overall actually, it's quite nice.
Yeah, like it was doing overall. So I'm just going to
leave that then I duplicate it one more time. I'm going to
apply it again.
Actually let me -
let me make that a little bit more settled by dropping. I
have the original before sharpening, the new one after
sharpened. So I'm going to drop the opacity to like 75 percent.
So it's a little bit more subtle. I'm just going to merge
it. So I'm pretty happy with that. Before sharpening, after.
I'm going to duplicate that and I'm just going to sharpen the
face so filter, sharpen, unsharp mask. One more application only
on the face.
So that's pretty good.
So what do I do put on a mask and just like what we did with
the value correction or the contrast correction. I'm going
to invert the mask and now I'm going to use a circular
gradient and then boom.
It only affects the face, right, not any other part because
there's a mask and it uses a gradient to make it very
subtle. And now I'm going to come in and brush
and hide
some of the areas.
My brush is it a high opacity there.
I just kind of want -
I don't want the shadow details to be too sharp, but I want
like all his Line work to show through and then before, after.
Drop the opacity just a little bit to make it a little bit
more subtle.
Boom.
Merge my work. So wow looks sharper and crisper. Before,
after. It looks a lot better. Look how beautiful this line
turned out. So that's just a small sample of the
things you could do when you apply gradients - the gradient
tool to your masks.
AUTO SCROLL
Okay, you saw a lot of
pretty advanced stuff and
if you got little confused don't worry about it. A lot of
the stuff
it's just - really will come with practice and a lot of the
stuff. It's just the things that I do in my workflow
probably as you get more experience, you'll be using
your own type of workflow techniques. Remember in
Photoshop there's about 50 different ways to do one thing,
all these image adjustments. There's a bunch of different
ways to do it. These are just the ways that I like and I
think they're the most simple so don't get too intimidated by
buy anything you see here. Remember take it slow and View
as much as possible. But now we're going to get into
the last few things that I wanted to show you. Okay? So
let's talk about repairing your slide. So let's say
I have a - I have a slide here and this section
looks okay, but this part doesn't right. We want
to crop that so
we could easily crop,
right, just we can just cut that section off. But if we do
want this canvas space, and I think it's a good idea to have
it. In fact, I'll even go to the left. What we can do is we
can use cut and paste and healing brush.
So one way we can
let's say clean up this section - this is like the edge
of the paper here -
is with the healing brush. So duplicate my layer. Now the
healing brush is
also known as clone stamp, the hotkey is S. It's right above your
brush here or art history brush - right below brush. Excuse me.
I'm going to go to clone stamp. And then when you use clone
stamp, you want to pick whatever brush you can use. I'm
going to just pick the soft airbrush.
Airbrush. And what you want to do is you want to repair an
area using a part of your of your image that's clean. So
for example, this part is nice and clean. I like this part. So
is here. So what I can do is hold down alt and you bring up this
crosshair and then click on the area you want to copy,
the clean area, the nice area. Click there. And now if I move
my cursor over to another area it's going to pull pixels from
where I was, my starting anchor point, over to where I'm
brushing. So you see, if you notice as I brush here look at
the
little plus sign pop up. Right now it's just pulling pixels
from that zone. So I got to be careful. Let's say - let's say I
start here.
Anchor point here. And I start brushing and notice what it's
doing, it's sampling from things up above. So you
want to be careful there.
That's why you want to pick an area that's nice and clean and
opened.
And just take your time with this, you know.
So it's pretty it's pretty good right, it's seamless. So before,
right, and then after. So this feels pretty seamless. You can
zoom out, you can see. Now there's a lot of ugly kind of
spot marks. I don't know if you can see it on camera, but I can
see it here on my Cintiq. So I'm going to do one more thing real quick
before I get back to this
and that's
just simply cut and paste so that was healing brush.
Right. That was the healing brush. I'll show you one more
example of healing brush.
Remember the shortcut is S. Now let's say I want to I want to
get this little piece of dirt. So what I'm going to do is I'm going
to sample a clean part of the of the canvas or drawing, in this
case up here anchor point and it's nice and clean and open. So
now you can just come in here and lightly, boop, get rid of
that dirt. So see that.
Nice and clean.
And so I like the work I've done. So I'm going to do is
I'm going to
merge these two layers.
Now there's still a little bit of dirt and unevenness and spottiness
here. And I also want to expand the canvas. So what I'm going to
do is do a cut and paste technique. First let's expand
the canvas. Well first let's clean this up first. Let's
clean this up. So what I'm going to do is I'm going to cut and paste. I'm
going to take this area which I like because it's clean but yet
it has some of the paper texture if I zoom in, see it has some nice
paper texture. So I'm going to do command C to copy, then
command V to paste. So now I have a chunk of paper, just clean
paper that I use that I got from here. And then what I'm
going to do is I'm going to line it up.
Sort of line them up here.
I'm just going to make a big clean chunk.
And of course there's an edge. So I'm going to use my
healing brush to clean up the edge. Just select an area and
then see how it cleans up that hard line? Select an area.
Clean up that hard line.
Okay, so now I can use this, I'm gonna drop the opacity a little
bit. I can use this and I'm going to use my masking tool
with gradients. So we'll take a mask on to that layer. Then
I'm going to use the gradient tool to blend it. You know, I
don't want this hard edge. So just blend - oops.
My mask wasn't active, that layer was active. So I got to
keep that in mind and then
I'm going to blend it and notice it just becomes this
beautiful seamless sort of blend. Maybe a little too
low.
So now I have this nice seamless area. So I'm going to
go ahead and
merge that so that's wonderful. So now that entire area is
perfectly clean. Remember before we can see the bottom of
the paper, now, it's perfectly clean and seamless and it feels
like paper. So one more thing I want to do is I want to expand
it to the left a little bit. So I'm going to do an
image, canvas size.
You can also use crop to resize this, talk about that now real
quick. So you can take the crop tool. Remember the crop tool?
You can actually remember you could crop into your image and
just totally crop your image with the crop tool, but you can
also expand. So I'm going to fill my image
with the crop tool and then I'm going to - and that's C by the
way, the hotkey is C. And then just going to draw a
rectangle all the way around my image, start at the outside, come
all the way to the inside just to fill it. Then I can actually
drag it larger than the existing canvas. I'm going to
drag it a little bit to the left and a little bit up.
Now it's a little bit too high - a little bit too far to the left.
And then what it is I expanded my actual canvas
and of course, I don't want this ugly white space. So what
I want to do
is I'm going to use cut and paste to fill that area. So
here I have a nice long section, long even section right here.
I'm going to do command C and do command V, then I'm going to drag
the section all the way over and look at that it fits almost
perfectly in width.
Then I'm going to duplicate it.
Then take the duplicate and drag it. So I actually have it
in two pieces. First piece, second piece.
Merge them together. Make sure there's no hard edge line. I
don't really see any.
Now there's a problem here. Look how much darker that is
there. That's okay. That's okay. We can work that out.
Then I'm also going to
duplicate one more time. It's still pretty seamless. I see a
little bit of hard edge. So I'm going to use my
clone stamp or healing brush, clone stamp, excuse me. It's
not healing brush. And then what I'm going to do is
invert it or put it underneath my layer. Then I'm going to use
an alpha mask
and then
just do a nice subtle mask. Now it's actually It's actually
not looking that great because this area is so dark. So what
I can do
is take a hue saturation adjustment layer. I'm going to
clip it to my little strip here, a little rectangular strip,
and then I'm going to -
oops -
actually make it darker but only at the bottom
and how am I going to do that you might ask? Because it's
dark at the top too. Well, I'm going to take this of
course and use the mask and whoop just mask it out only
where I need it.
And there's still some area that needs to be cleaned up. We can
clean that up.
That feels pretty good.
And what I can do now is I'm going to duplicate it one more
time, and I'm hiding the layer. That's why you don't really see
it anymore.
Wanna have a nice set of pixels that I can use to mask
when I go here. So now when I go here
and then I do
mask with the gradient tool to to blend that edge and notice
the edges starting to blend. Look at that. Look how
beautifully that blended right, because we use the gradient
tool. If I turn it off you see ugly hard edge, because we
blended it using the gradient tool it's become much much softer.
And of course I can fine tune it with my mask with a brush,
make sure the mask is active.
And I'll just sort of bringing back some of the areas that I
didn't want to lose
and cleaning up some of the - some of the old dirt.
So the area is nice and blended. You see that, it's beautiful.
I'm going to go ahead and merge that.
Go ahead and merge this as well. So now we have wonderful
expanded our canvas to the left by cutting and pasting some
some elements. The next I want to do it at the top. So to do
that I'm going to select this little chunk right here. This
little chunk is nice and clean.
Right here.
I do command C cut, or copy, command V to paste. Now. I have
this little bit of chunk of the top space and I'm just going to
duplicate it over.
Oh and the way I did that is if layer is active, if I want to
copy duplicate it and move it at the same time I can hold shift
and alt, alt duplicates your action or the layer underneath
and shift makes the movement
left or right movement.
Or up and down, perfect vertical.
Make sure I blend that edge and then just do one more
and there's a nice hard edge there. So I'm going to use a
gradient tool to clean that up.
All right. So now I have a nice strip. I'm going to put it
beneath my layer right there. Then I'm just going to take -
put another mask and do another gradient to blend. You see that
it's almost seamless now. Wonderful.
So I love how that looks, I'm
pretty happy with that, with that edge. So I'm just going to
blend it together. And if you still see any areas of any hard
edges, you can just come in and then use your
healing brush - or excuse me rubber stamp.
And then just sort of clean up. So now this feels pretty good.
We went from a small image with some defects in the papers to a
really nice and tight image and we can still clean it up
even more of course. The last thing I want to do is show you
a way to make a quick vignette. So a vignette is nice because
it focuses your eye into the center of your canvas.
I'm going to duplicate this here. I'm going to make
a web version. Remember you do image, image size or alt command
I is the shortcut. I'm going to make like a little - a midsize
version. So let's say
a web version that I can show on my website. So 200 DPI.
Let's go to like
1200 pixels. It's a pretty big - it's pretty big one
but still small enough to be on the web.
I see a little bit of dirt right up here. Let me just clean that
up. Yeah, I saw some dirt
when it got shrunk.
The dirt because there's a nice edge became obvious.
What I'm doing is I'm selecting a clean area.
What I want to do is make a nice vignette. So I'm going to
take - there's lots of ways to do this. One way I like is to take
hue saturation on an adjustment layer, drop the brightness a
little bit. I'd also like to drop the saturation just a
little bit.
Just to make it feel a little bit cooler
and then
take my mask. Excuse me, my gradient tool on the mask and
just use circular gradient and then boom, creates a nice subtle
vignette. So you see that how the edges get a little bit
darker? So now this can look good on my Facebook page.
Then you can make it as subtle as you want. You can drop the
opacity. That's what I like to do or keep it full opacity and
just play with it here.
What I think I'm going to do is crop it a little bit tighter.
Sort of - just sort of undoing the all that work we just did
but there was good for demonstration.
Okay, so crop the work I did. Now I'm going to turn on my now. I'm going to turn on my my
vignette.
I'm going to do it again. Let's say the right at the center. So
now it feels well much better. This looks a little too much
real estate so I can make as
subtle as you want or as obvious as you want. Let's make
it obvious just so you can see it on camera. And now what I
can do is change the shape. Right now the vignette is sort
of a perfect circle in a rectangular field and
rectangular canvas. So I'm going to change the shape to
more of an oval. So I'm going to unlink
the mask from the adjustment, then I'm going to transform the
mask. So that's one thing you could do with mask is why I
love using them so much. You actually change the shape of
the mask. So now more the legs is more of a rectangular oval
shape. So you see that?
Now some of the legs are showing through and if I like
my work and going to flatten it
and I can do file save and call it
Mark
figure
drawing underscore web. Save it as a JPEG
and then boom.
It's a little high. Let's see if I can optimize it. So
remember you can save for web. It's a plug-in, save for web
plugin.
Let's see how that looks. So that -
it's also here. Now and the hotkey is shift, alt command S
and remember you can pull it up here. File.
Excuse me,
file, export. That's right. And then save for web and has a
really complicated hockey shift, alt, command S.
That's just something I do when I'm making anything for -
anything for online. I always use save for web. Make sure the
preset is JPEG high or you can just click the box from
GIF to output to JPEG. And then now I can fine tune it
to get a really nice quality and then smaller file size.
That's why I like save for web. I want to keep it nice and
small.
It's a little too high, but I don't want to sacrifice any
detail. Just going to hit done and then boom now, I got a nice
JPEG that I can use on my website. And of course I should
add my name or Mark's name in this case.
Okay, so that was just some more advanced clean up
techniques. The last thing we want to do is
advanced color correction techniques. Okay. So that was a
lot of stuff there. There was just some advanced techniques
you saw. The last thing we're going to cover is advanced
color correction. So now let's open a color file. Can't talk
about color correction without a color file. Let's see.
What can we do use here? Let's see.
This is a RAW file of a little apple I painted.
It's playing with the tint a little bit.
So it's nice and clear.
Okay image.
So there's a lot of interesting things here we can do.
Let's talk about some color correction. Now one of the
tools that we haven't got to see is color balance. I'm going
to bring that up now.
First I'm gonna duplicate my work here. I'm going to bring
color balance. It's under
adjustment, slider menu. It's also here image adjustments,
color balance.
Okay, color balance is cool because
you can really fine tune the the RGB or the CMY and you can
use it for three value levels. Shadows, mid-tones, and
highlights. It's really really cool.
So for example, let's say I want to make my shadow, my darks,
a little bit Bluer Than we go to undershadow.
And I'm going to make my darks, shift them towards cyan to
basically take out some of the blue or some of the red.
And I love these sliders because you can check for
yourself what looks best, you can easily check for yourself
what looks best.
So you see how it's only affecting the shadow? And doesn't
affect everything of course, but we'll fine-tune that in a
second.
So I'm pretty happy with that, make it a little bit more blue.
It's a lot darker. Now let's go to mid-tones. Let's say I
want to make my reds a little bit more pink.
Or a little bit more green.
My reds are a little too -
wanted it to be more like a -
more like a Fuji apple versus like a Washington apple is kind
of what it looks like now.
Well Fujis are kind of green actually.
It's affecting the mid-tones here.
Oops, and then I'm going to make my highlights
more yellow
and go to yellow and see how it's affecting the background
because the background is the highlight value.
So it looks pretty good. Now this is all these corrections
in one layer.
Now,
of course, you can separate them into three different
layers. That's probably what I should do.
Wow was a big difference huh before or after I kind of like
this new one. Let's say I drop the opacity a little bit.
That's one thing I like to do, I like to like pretty
dramatic changes with the adjustment layer and then fine
tune it with opacity to see what's a perfect level. That
looks pretty good. I like that right there, looks pretty good. Actually
I'm going to merge this.
Now just show you for example, you can clean up individually
each layer. So
let's say - let's start with the highlights. Let's say the
highlights I want them to be more yellow. So I'm going to go
to
color balance and gonna switch it to highlights and make my
highlights really yellow. Look at that. Look how
it gets kind of blown out a little bit which is kind of
what I want actually.
Make it a pretty warm yellow.
Now I don't want it on the apple actually. I just want it on the
highlight. So what I'm going to do
is take my lasso tool or my magic wand.
And sort of do I just click on that white canvas. And magic
wand is a quick way to select things. Then I'm going to click
on the dark. See what that does. That's pretty good.
Let me try
lasso pencil
here just to clean up my work. This is another inside the
lasso quick selection tool and what I'm doing is - whoops - is
holding shift to add and sort of brushing on there. These
little parts are visible.
Oops.
Or inversely you can just use lasso and sort of just draw.
I just want
the background and the thing, the
selection there, so I'm going to - I'm going to actually add
this half tone.
Going to shift this.
Remember we can always clean up our work.
Okay. So now the mask is right. It's only around -
the mask only is around or it's a - it's not a very clean mask. But
for now it's fine because we can clean it up with brushes of
course, is only affecting the highlight and
the background. So I'm just going to make a selection
around the highlight. I'm going to invert that and then fill it
with paint bucket. Okay, that's what I wanted. And then I'm
going to blend it of course using a soft airbrush and make
sure my - use the opacity to make sure the blend is nice and soft.
I can even use the gradient tool but the shape is not quite
round. So you see how it affects the highlight really nice and
the brush helps you to blend the effect. Okay so It blend the effect. It's a
really punch the saturation of the highlight.
And now I'm going to take that exact same color balance
and I'm only going to affect the back and this time I'm
going to manually draw the mask
and just going to try to go fairly quickly. Can always
clean it up with brushes just like you saw.
Now only want to effect the canvas right, make the canvas a little
bit more yellow. So I'm going to duplicate
the color balance layer and I'm going to duplicate this
then I'm going to delete the mask then apply this new one.
And invert that okay. So now I have the highlight, color
balance, and the canvas color balance, but I don't like this.
Of course I can change it. Go back to highlights. And then
let's see. It's a little too yellow, right? Way too yellow,
actually look good when it was nice and cool blue.
So we're affecting the canvas
only, see that?
Actually going to try to make it neutral.
What I need to do
for the canvas is I'm going to do
a hue saturation. So watch this, drop the hue saturation.
Because that - I want the canvas to be nice and grey and I'm
going to take the mask. One way to duplicate a mask is to hold
alt, click on the mask and then drag it to the layer you want
and then boom it'll ask you to replace mask. So you saw that.
You replace the mask, turn the mask off, turn the mask on
because I don't want to lower the saturation for the apple,
just the background. So before
it's actually pretty grey already. You don't really see
much of a difference.
You won't see the difference until I do something like that.
So actually I try to make it a little bit brighter. Yeah like
that.
And of course we can clean up all this other dirt as well.
So one more thing we could do is let's say that shadow want
it to be nice and blue.
So I can go to color balance
and
I'm going to increase the blue. Look at that looking very blue
already.
So I like that. So of course, I don't want it to affect
anything else except the shadow. So I have to make a
mask. I already have a mask drawn up here. I'm just going to fill
it. Well, what I'm going to do is edit the mask that I have.
I'm going to start with the lasso tool.
I'm going to use polygon lasso and then click click click,
hotkey's Alt.
Actually I'm gonna - I want some of this stuff too.
I might have to use a
brush, which I know I will have to do.
All right. Now it's inverted. So I do command I with the mask
selected.
Command I inverts so you can see just how
powerful that was, this work is much more obvious.
And let's see.
Okay. Yeah, okay. It looks pretty cool.
I can make it a little bit more subtle add. What I'm doing is
masking out some of the areas that I want to stay red, like
this red hot spot there.
Actually, I'm going to bring it back at the core shadow, bring it
back to that red and then I'm going to make it a little bit
more subtle by dropping the opacity.
So I like that there,
make it a little bit more blue.
Sorta like a blue magenta, I like that,
okay.
So now I'm pretty happy with the work that I have here.
Let's take a quick look.
What I'm going to do is
I want to duplicate it so you can see the old one.
This was the original, the original slide that we shot and
this is what some pretty advanced color balance.
That's a little bit cheating. I just wanted to show you.
One more thing I wanted to show you guys is how to use the
gradient tool along with color balancing. Right now I'm pretty
happy with the work I did, you know, kind of cheated a little
bit and made the highlight little bit more orange-y. So now
want to tone that down I'm going to use a couple image
adjustment layers along with the gradient tool. So I'm
going to bring up hue saturation and then I'm gonna drop
the saturation down quite a bit.
And I'm going to move the hue a little bit towards like a
yellow there, towards yellow green.
And I'm going to invert that.
You can see when you turn it off you basically turn the mask
off. Now I'm going to bring up paint bucket - or excuse me gradient
tool.
And whoop whoop, so it's very subtle.
I'm also going to apply a little bit there.
At the top there.
So it's very subtle. I'll show you make it more dramatic, see that?
So now we can play - now actually, you can play with how Actually, you can play with how
you can crank it up or what I wanted to do was turn it down,
saturation down a little bit.
And it only applies to the area that's hasn't been masked. Thus
the gradient tool there. So it's a wonderful tool.
And let's do one more
technique.
I'm going to make a vignette with this. So let's crop this a
little bit.
Come and see oops
image crop.
Okay.
A little too much at the top. I'm gonna crop that again so image,
crop. Now I want to make a nice vignettes and do hue
saturation again. Now what - first before I do that I want
to make the white canvas really really bright. So I'm going to
make a new layer,
new adjustment layer. Let's go to - let's go to
brightness/contrast. See what that does. Oh, yeah, that's
working pretty nicely.
And notice it only affects
the canvas that's wonderful there, making a little bit
more subtle.
Okay, just drop the opacity and now I can do some repair work
here once I merge these layers, but before I do that I wanted
to do a vignette. So I made the canvas nice and bright.
Now I'm going to bring up hue saturation on an adjustment
layer and then drop the opacity - or excuse me, drop the
brightness, drop the saturation a little bit.
And now to make a vignette make sure the mask is active, grab
your gradient tool and baboom. Baboom. Make sure you have the
right color, either black or white depending on your
situation. And look at that beautiful vignette for our apple.
I'm going to drop this opacity a little bit, make it more subtle.
So now we have apple vignetted and it's ready to go
on the website or whatever you want to use, put in your
portfolio and things like that. So that was the last of the
tools. There's a lot to cover here, especially that advanced
stuff and definitely review and practice, watch this as many
times as needed. That stuff can get a little tricky especially
if it's your first time but don't worry about
it. You'll get it, you'll get it the more you do it and a lot of
stuff you saw we already covered. I'm just applying two
or three or different tools, essential tools, to this process.
pretty advanced stuff and
if you got little confused don't worry about it. A lot of
the stuff
it's just - really will come with practice and a lot of the
stuff. It's just the things that I do in my workflow
probably as you get more experience, you'll be using
your own type of workflow techniques. Remember in
Photoshop there's about 50 different ways to do one thing,
all these image adjustments. There's a bunch of different
ways to do it. These are just the ways that I like and I
think they're the most simple so don't get too intimidated by
buy anything you see here. Remember take it slow and View
as much as possible. But now we're going to get into
the last few things that I wanted to show you. Okay? So
let's talk about repairing your slide. So let's say
I have a - I have a slide here and this section
looks okay, but this part doesn't right. We want
to crop that so
we could easily crop,
right, just we can just cut that section off. But if we do
want this canvas space, and I think it's a good idea to have
it. In fact, I'll even go to the left. What we can do is we
can use cut and paste and healing brush.
So one way we can
let's say clean up this section - this is like the edge
of the paper here -
is with the healing brush. So duplicate my layer. Now the
healing brush is
also known as clone stamp, the hotkey is S. It's right above your
brush here or art history brush - right below brush. Excuse me.
I'm going to go to clone stamp. And then when you use clone
stamp, you want to pick whatever brush you can use. I'm
going to just pick the soft airbrush.
Airbrush. And what you want to do is you want to repair an
area using a part of your of your image that's clean. So
for example, this part is nice and clean. I like this part. So
is here. So what I can do is hold down alt and you bring up this
crosshair and then click on the area you want to copy,
the clean area, the nice area. Click there. And now if I move
my cursor over to another area it's going to pull pixels from
where I was, my starting anchor point, over to where I'm
brushing. So you see, if you notice as I brush here look at
the
little plus sign pop up. Right now it's just pulling pixels
from that zone. So I got to be careful. Let's say - let's say I
start here.
Anchor point here. And I start brushing and notice what it's
doing, it's sampling from things up above. So you
want to be careful there.
That's why you want to pick an area that's nice and clean and
opened.
And just take your time with this, you know.
So it's pretty it's pretty good right, it's seamless. So before,
right, and then after. So this feels pretty seamless. You can
zoom out, you can see. Now there's a lot of ugly kind of
spot marks. I don't know if you can see it on camera, but I can
see it here on my Cintiq. So I'm going to do one more thing real quick
before I get back to this
and that's
just simply cut and paste so that was healing brush.
Right. That was the healing brush. I'll show you one more
example of healing brush.
Remember the shortcut is S. Now let's say I want to I want to
get this little piece of dirt. So what I'm going to do is I'm going
to sample a clean part of the of the canvas or drawing, in this
case up here anchor point and it's nice and clean and open. So
now you can just come in here and lightly, boop, get rid of
that dirt. So see that.
Nice and clean.
And so I like the work I've done. So I'm going to do is
I'm going to
merge these two layers.
Now there's still a little bit of dirt and unevenness and spottiness
here. And I also want to expand the canvas. So what I'm going to
do is do a cut and paste technique. First let's expand
the canvas. Well first let's clean this up first. Let's
clean this up. So what I'm going to do is I'm going to cut and paste. I'm
going to take this area which I like because it's clean but yet
it has some of the paper texture if I zoom in, see it has some nice
paper texture. So I'm going to do command C to copy, then
command V to paste. So now I have a chunk of paper, just clean
paper that I use that I got from here. And then what I'm
going to do is I'm going to line it up.
Sort of line them up here.
I'm just going to make a big clean chunk.
And of course there's an edge. So I'm going to use my
healing brush to clean up the edge. Just select an area and
then see how it cleans up that hard line? Select an area.
Clean up that hard line.
Okay, so now I can use this, I'm gonna drop the opacity a little
bit. I can use this and I'm going to use my masking tool
with gradients. So we'll take a mask on to that layer. Then
I'm going to use the gradient tool to blend it. You know, I
don't want this hard edge. So just blend - oops.
My mask wasn't active, that layer was active. So I got to
keep that in mind and then
I'm going to blend it and notice it just becomes this
beautiful seamless sort of blend. Maybe a little too
low.
So now I have this nice seamless area. So I'm going to
go ahead and
merge that so that's wonderful. So now that entire area is
perfectly clean. Remember before we can see the bottom of
the paper, now, it's perfectly clean and seamless and it feels
like paper. So one more thing I want to do is I want to expand
it to the left a little bit. So I'm going to do an
image, canvas size.
You can also use crop to resize this, talk about that now real
quick. So you can take the crop tool. Remember the crop tool?
You can actually remember you could crop into your image and
just totally crop your image with the crop tool, but you can
also expand. So I'm going to fill my image
with the crop tool and then I'm going to - and that's C by the
way, the hotkey is C. And then just going to draw a
rectangle all the way around my image, start at the outside, come
all the way to the inside just to fill it. Then I can actually
drag it larger than the existing canvas. I'm going to
drag it a little bit to the left and a little bit up.
Now it's a little bit too high - a little bit too far to the left.
And then what it is I expanded my actual canvas
and of course, I don't want this ugly white space. So what
I want to do
is I'm going to use cut and paste to fill that area. So
here I have a nice long section, long even section right here.
I'm going to do command C and do command V, then I'm going to drag
the section all the way over and look at that it fits almost
perfectly in width.
Then I'm going to duplicate it.
Then take the duplicate and drag it. So I actually have it
in two pieces. First piece, second piece.
Merge them together. Make sure there's no hard edge line. I
don't really see any.
Now there's a problem here. Look how much darker that is
there. That's okay. That's okay. We can work that out.
Then I'm also going to
duplicate one more time. It's still pretty seamless. I see a
little bit of hard edge. So I'm going to use my
clone stamp or healing brush, clone stamp, excuse me. It's
not healing brush. And then what I'm going to do is
invert it or put it underneath my layer. Then I'm going to use
an alpha mask
and then
just do a nice subtle mask. Now it's actually It's actually
not looking that great because this area is so dark. So what
I can do
is take a hue saturation adjustment layer. I'm going to
clip it to my little strip here, a little rectangular strip,
and then I'm going to -
oops -
actually make it darker but only at the bottom
and how am I going to do that you might ask? Because it's
dark at the top too. Well, I'm going to take this of
course and use the mask and whoop just mask it out only
where I need it.
And there's still some area that needs to be cleaned up. We can
clean that up.
That feels pretty good.
And what I can do now is I'm going to duplicate it one more
time, and I'm hiding the layer. That's why you don't really see
it anymore.
Wanna have a nice set of pixels that I can use to mask
when I go here. So now when I go here
and then I do
mask with the gradient tool to to blend that edge and notice
the edges starting to blend. Look at that. Look how
beautifully that blended right, because we use the gradient
tool. If I turn it off you see ugly hard edge, because we
blended it using the gradient tool it's become much much softer.
And of course I can fine tune it with my mask with a brush,
make sure the mask is active.
And I'll just sort of bringing back some of the areas that I
didn't want to lose
and cleaning up some of the - some of the old dirt.
So the area is nice and blended. You see that, it's beautiful.
I'm going to go ahead and merge that.
Go ahead and merge this as well. So now we have wonderful
expanded our canvas to the left by cutting and pasting some
some elements. The next I want to do it at the top. So to do
that I'm going to select this little chunk right here. This
little chunk is nice and clean.
Right here.
I do command C cut, or copy, command V to paste. Now. I have
this little bit of chunk of the top space and I'm just going to
duplicate it over.
Oh and the way I did that is if layer is active, if I want to
copy duplicate it and move it at the same time I can hold shift
and alt, alt duplicates your action or the layer underneath
and shift makes the movement
left or right movement.
Or up and down, perfect vertical.
Make sure I blend that edge and then just do one more
and there's a nice hard edge there. So I'm going to use a
gradient tool to clean that up.
All right. So now I have a nice strip. I'm going to put it
beneath my layer right there. Then I'm just going to take -
put another mask and do another gradient to blend. You see that
it's almost seamless now. Wonderful.
So I love how that looks, I'm
pretty happy with that, with that edge. So I'm just going to
blend it together. And if you still see any areas of any hard
edges, you can just come in and then use your
healing brush - or excuse me rubber stamp.
And then just sort of clean up. So now this feels pretty good.
We went from a small image with some defects in the papers to a
really nice and tight image and we can still clean it up
even more of course. The last thing I want to do is show you
a way to make a quick vignette. So a vignette is nice because
it focuses your eye into the center of your canvas.
I'm going to duplicate this here. I'm going to make
a web version. Remember you do image, image size or alt command
I is the shortcut. I'm going to make like a little - a midsize
version. So let's say
a web version that I can show on my website. So 200 DPI.
Let's go to like
1200 pixels. It's a pretty big - it's pretty big one
but still small enough to be on the web.
I see a little bit of dirt right up here. Let me just clean that
up. Yeah, I saw some dirt
when it got shrunk.
The dirt because there's a nice edge became obvious.
What I'm doing is I'm selecting a clean area.
What I want to do is make a nice vignette. So I'm going to
take - there's lots of ways to do this. One way I like is to take
hue saturation on an adjustment layer, drop the brightness a
little bit. I'd also like to drop the saturation just a
little bit.
Just to make it feel a little bit cooler
and then
take my mask. Excuse me, my gradient tool on the mask and
just use circular gradient and then boom, creates a nice subtle
vignette. So you see that how the edges get a little bit
darker? So now this can look good on my Facebook page.
Then you can make it as subtle as you want. You can drop the
opacity. That's what I like to do or keep it full opacity and
just play with it here.
What I think I'm going to do is crop it a little bit tighter.
Sort of - just sort of undoing the all that work we just did
but there was good for demonstration.
Okay, so crop the work I did. Now I'm going to turn on my now. I'm going to turn on my my
vignette.
I'm going to do it again. Let's say the right at the center. So
now it feels well much better. This looks a little too much
real estate so I can make as
subtle as you want or as obvious as you want. Let's make
it obvious just so you can see it on camera. And now what I
can do is change the shape. Right now the vignette is sort
of a perfect circle in a rectangular field and
rectangular canvas. So I'm going to change the shape to
more of an oval. So I'm going to unlink
the mask from the adjustment, then I'm going to transform the
mask. So that's one thing you could do with mask is why I
love using them so much. You actually change the shape of
the mask. So now more the legs is more of a rectangular oval
shape. So you see that?
Now some of the legs are showing through and if I like
my work and going to flatten it
and I can do file save and call it
Mark
figure
drawing underscore web. Save it as a JPEG
and then boom.
It's a little high. Let's see if I can optimize it. So
remember you can save for web. It's a plug-in, save for web
plugin.
Let's see how that looks. So that -
it's also here. Now and the hotkey is shift, alt command S
and remember you can pull it up here. File.
Excuse me,
file, export. That's right. And then save for web and has a
really complicated hockey shift, alt, command S.
That's just something I do when I'm making anything for -
anything for online. I always use save for web. Make sure the
preset is JPEG high or you can just click the box from
GIF to output to JPEG. And then now I can fine tune it
to get a really nice quality and then smaller file size.
That's why I like save for web. I want to keep it nice and
small.
It's a little too high, but I don't want to sacrifice any
detail. Just going to hit done and then boom now, I got a nice
JPEG that I can use on my website. And of course I should
add my name or Mark's name in this case.
Okay, so that was just some more advanced clean up
techniques. The last thing we want to do is
advanced color correction techniques. Okay. So that was a
lot of stuff there. There was just some advanced techniques
you saw. The last thing we're going to cover is advanced
color correction. So now let's open a color file. Can't talk
about color correction without a color file. Let's see.
What can we do use here? Let's see.
This is a RAW file of a little apple I painted.
It's playing with the tint a little bit.
So it's nice and clear.
Okay image.
So there's a lot of interesting things here we can do.
Let's talk about some color correction. Now one of the
tools that we haven't got to see is color balance. I'm going
to bring that up now.
First I'm gonna duplicate my work here. I'm going to bring
color balance. It's under
adjustment, slider menu. It's also here image adjustments,
color balance.
Okay, color balance is cool because
you can really fine tune the the RGB or the CMY and you can
use it for three value levels. Shadows, mid-tones, and
highlights. It's really really cool.
So for example, let's say I want to make my shadow, my darks,
a little bit Bluer Than we go to undershadow.
And I'm going to make my darks, shift them towards cyan to
basically take out some of the blue or some of the red.
And I love these sliders because you can check for
yourself what looks best, you can easily check for yourself
what looks best.
So you see how it's only affecting the shadow? And doesn't
affect everything of course, but we'll fine-tune that in a
second.
So I'm pretty happy with that, make it a little bit more blue.
It's a lot darker. Now let's go to mid-tones. Let's say I
want to make my reds a little bit more pink.
Or a little bit more green.
My reds are a little too -
wanted it to be more like a -
more like a Fuji apple versus like a Washington apple is kind
of what it looks like now.
Well Fujis are kind of green actually.
It's affecting the mid-tones here.
Oops, and then I'm going to make my highlights
more yellow
and go to yellow and see how it's affecting the background
because the background is the highlight value.
So it looks pretty good. Now this is all these corrections
in one layer.
Now,
of course, you can separate them into three different
layers. That's probably what I should do.
Wow was a big difference huh before or after I kind of like
this new one. Let's say I drop the opacity a little bit.
That's one thing I like to do, I like to like pretty
dramatic changes with the adjustment layer and then fine
tune it with opacity to see what's a perfect level. That
looks pretty good. I like that right there, looks pretty good. Actually
I'm going to merge this.
Now just show you for example, you can clean up individually
each layer. So
let's say - let's start with the highlights. Let's say the
highlights I want them to be more yellow. So I'm going to go
to
color balance and gonna switch it to highlights and make my
highlights really yellow. Look at that. Look how
it gets kind of blown out a little bit which is kind of
what I want actually.
Make it a pretty warm yellow.
Now I don't want it on the apple actually. I just want it on the
highlight. So what I'm going to do
is take my lasso tool or my magic wand.
And sort of do I just click on that white canvas. And magic
wand is a quick way to select things. Then I'm going to click
on the dark. See what that does. That's pretty good.
Let me try
lasso pencil
here just to clean up my work. This is another inside the
lasso quick selection tool and what I'm doing is - whoops - is
holding shift to add and sort of brushing on there. These
little parts are visible.
Oops.
Or inversely you can just use lasso and sort of just draw.
I just want
the background and the thing, the
selection there, so I'm going to - I'm going to actually add
this half tone.
Going to shift this.
Remember we can always clean up our work.
Okay. So now the mask is right. It's only around -
the mask only is around or it's a - it's not a very clean mask. But
for now it's fine because we can clean it up with brushes of
course, is only affecting the highlight and
the background. So I'm just going to make a selection
around the highlight. I'm going to invert that and then fill it
with paint bucket. Okay, that's what I wanted. And then I'm
going to blend it of course using a soft airbrush and make
sure my - use the opacity to make sure the blend is nice and soft.
I can even use the gradient tool but the shape is not quite
round. So you see how it affects the highlight really nice and
the brush helps you to blend the effect. Okay so It blend the effect. It's a
really punch the saturation of the highlight.
And now I'm going to take that exact same color balance
and I'm only going to affect the back and this time I'm
going to manually draw the mask
and just going to try to go fairly quickly. Can always
clean it up with brushes just like you saw.
Now only want to effect the canvas right, make the canvas a little
bit more yellow. So I'm going to duplicate
the color balance layer and I'm going to duplicate this
then I'm going to delete the mask then apply this new one.
And invert that okay. So now I have the highlight, color
balance, and the canvas color balance, but I don't like this.
Of course I can change it. Go back to highlights. And then
let's see. It's a little too yellow, right? Way too yellow,
actually look good when it was nice and cool blue.
So we're affecting the canvas
only, see that?
Actually going to try to make it neutral.
What I need to do
for the canvas is I'm going to do
a hue saturation. So watch this, drop the hue saturation.
Because that - I want the canvas to be nice and grey and I'm
going to take the mask. One way to duplicate a mask is to hold
alt, click on the mask and then drag it to the layer you want
and then boom it'll ask you to replace mask. So you saw that.
You replace the mask, turn the mask off, turn the mask on
because I don't want to lower the saturation for the apple,
just the background. So before
it's actually pretty grey already. You don't really see
much of a difference.
You won't see the difference until I do something like that.
So actually I try to make it a little bit brighter. Yeah like
that.
And of course we can clean up all this other dirt as well.
So one more thing we could do is let's say that shadow want
it to be nice and blue.
So I can go to color balance
and
I'm going to increase the blue. Look at that looking very blue
already.
So I like that. So of course, I don't want it to affect
anything else except the shadow. So I have to make a
mask. I already have a mask drawn up here. I'm just going to fill
it. Well, what I'm going to do is edit the mask that I have.
I'm going to start with the lasso tool.
I'm going to use polygon lasso and then click click click,
hotkey's Alt.
Actually I'm gonna - I want some of this stuff too.
I might have to use a
brush, which I know I will have to do.
All right. Now it's inverted. So I do command I with the mask
selected.
Command I inverts so you can see just how
powerful that was, this work is much more obvious.
And let's see.
Okay. Yeah, okay. It looks pretty cool.
I can make it a little bit more subtle add. What I'm doing is
masking out some of the areas that I want to stay red, like
this red hot spot there.
Actually, I'm going to bring it back at the core shadow, bring it
back to that red and then I'm going to make it a little bit
more subtle by dropping the opacity.
So I like that there,
make it a little bit more blue.
Sorta like a blue magenta, I like that,
okay.
So now I'm pretty happy with the work that I have here.
Let's take a quick look.
What I'm going to do is
I want to duplicate it so you can see the old one.
This was the original, the original slide that we shot and
this is what some pretty advanced color balance.
That's a little bit cheating. I just wanted to show you.
One more thing I wanted to show you guys is how to use the
gradient tool along with color balancing. Right now I'm pretty
happy with the work I did, you know, kind of cheated a little
bit and made the highlight little bit more orange-y. So now
want to tone that down I'm going to use a couple image
adjustment layers along with the gradient tool. So I'm
going to bring up hue saturation and then I'm gonna drop
the saturation down quite a bit.
And I'm going to move the hue a little bit towards like a
yellow there, towards yellow green.
And I'm going to invert that.
You can see when you turn it off you basically turn the mask
off. Now I'm going to bring up paint bucket - or excuse me gradient
tool.
And whoop whoop, so it's very subtle.
I'm also going to apply a little bit there.
At the top there.
So it's very subtle. I'll show you make it more dramatic, see that?
So now we can play - now actually, you can play with how Actually, you can play with how
you can crank it up or what I wanted to do was turn it down,
saturation down a little bit.
And it only applies to the area that's hasn't been masked. Thus
the gradient tool there. So it's a wonderful tool.
And let's do one more
technique.
I'm going to make a vignette with this. So let's crop this a
little bit.
Come and see oops
image crop.
Okay.
A little too much at the top. I'm gonna crop that again so image,
crop. Now I want to make a nice vignettes and do hue
saturation again. Now what - first before I do that I want
to make the white canvas really really bright. So I'm going to
make a new layer,
new adjustment layer. Let's go to - let's go to
brightness/contrast. See what that does. Oh, yeah, that's
working pretty nicely.
And notice it only affects
the canvas that's wonderful there, making a little bit
more subtle.
Okay, just drop the opacity and now I can do some repair work
here once I merge these layers, but before I do that I wanted
to do a vignette. So I made the canvas nice and bright.
Now I'm going to bring up hue saturation on an adjustment
layer and then drop the opacity - or excuse me, drop the
brightness, drop the saturation a little bit.
And now to make a vignette make sure the mask is active, grab
your gradient tool and baboom. Baboom. Make sure you have the
right color, either black or white depending on your
situation. And look at that beautiful vignette for our apple.
I'm going to drop this opacity a little bit, make it more subtle.
So now we have apple vignetted and it's ready to go
on the website or whatever you want to use, put in your
portfolio and things like that. So that was the last of the
tools. There's a lot to cover here, especially that advanced
stuff and definitely review and practice, watch this as many
times as needed. That stuff can get a little tricky especially
if it's your first time but don't worry about
it. You'll get it, you'll get it the more you do it and a lot of
stuff you saw we already covered. I'm just applying two
or three or different tools, essential tools, to this process.
AUTO SCROLL
Transcription not available.
AUTO SCROLL
So let's open this bad boy.
Where is it here?
Okay, so this is one of those
sub optimal conditions. So what happened is I'll tell you a
little back story and this may happen to you is that I painted
this painting
and it sold.
Somebody bought it actually before I could take a good
slide of it. So all I have is is crappy iPhone slide and I
can't get ahold of them, the person who bought it. So this
may happen to you. That's why I wanted to include it and
in this lesson, so let's take a look at what we have to work
with. Oh my God, it's a tiny thing. So what we can do is
probably double its size. We can keep this as the web
version then I could double its size. It's probably the best I
can do to get the most out of this slide,
but definitely not an optimal situation. So first, let's get
rid of all this black stuff.
And there's a couple ways to do that. You can use let's try the
wand. Okay, it's not going to work. So let's try marquee.
So what I'm going to do is I'm going to
I'm going to use the
mask technique to make the edge tight, let's see.
Yeah.
I just inverted the background to white, shortcut is command I
inverts everything so I just want to use the mask to make
sure that my
crop is really tight, get rid of that black space.
This is really unfortunate. I should probably
try to contact the new owner. Okay, so I got my nice tight
crop. Alt, command C. Excuse me, image, crop. Boom. Crop she's image Krupp boom drop
that.
All right. So now I got my thing cropped.
So what can we do here? What can we do?
This was an iPhone shot.
So some of the colors got lost, the contrast is pretty good,
actually iPhone has a pretty nice contrast but a lot of this
stuff is just so messy and noisy. It's really
frustrating to look at. So
first let's double the size. Let's make our canvas a
little bit bigger.
I'm going to alt, command I
and
let's leave the DPI where it is. Let's do percent so I know
it just doubles height and width, 200 percent. All right,
so now let's look total crap.
So what we can do
is first apply some sharpness. Go to filter, sharpen, unsharp
mask and this is way too crazy.
The radius is too big, just looks too unnatural in
Photoshop-y.
All right,
so I like that overall.
Now, let's try to clean up this sky.
I know the painting was little bit more orange, little bit more
purple because a lot of these the colors being washed out by
the reflectivity and that's,
you know, obviously you do, you know, you don't want that when
you're taking a slide. Probably I should have let
it dry.
But you know, it's one of those things where you sure some of
you can relate.
You have a show.
and
you know running down to the wire.
Okay. So what I did was I just did the levels a little bit
just to brighten up the sky, just the hue saturation a
little bit. And so what I want to do is is I kind of want to
separate the sky because the sky
is what looks the worst in my opinion. The bottom stuff is
okay.
So
first thing to do is command plus J to duplicate my background
layer. Then what I'm going to do is I'm going to put these
adjustments in a folder and then I'm going to try to do a
mask around the sky. So first, let me try to use my magic wand
so it's kind of working. Good.
If you hold shift you'll be able to pull this - it's kind of
working, it's good. It's selecting everything but the sky so I'm
pretty happy with that. So what I'm going to do is apply this while
it's active.
Well, let me clean it up first. I know this bottom stuff I
don't need so all that - whoops. All this extra
things that the lasso tool didn't pick up.
And you know, I can always clean up my mask in
with brushes, that's what I like to do to get the tightest
mask possible.
Okay.
And switch to polygons remember holding shift
Gives you the ability to add, alt gives you the ability to
subtract, to cut into your mask.
Yeah, so hopefully you guys won't ever have to do this.
You'll always
be more cautious.
Or
you'll always be ready
to take good slides of your work, of course, be more
professional but you know these things happen and what you're
learning here of course can be applied to your own work
whenever you make - let's say you want to blow up a sketch. Let's
say you do a sketchbook sketch in your Sketchbook and you
lose your Sketchbook and you want to turn that into a nice
high res JPEG. This exact technique will work for that.
Or let's say you're making your own comps. Let's say you draw a
beautiful composition
on a post-it note. It's like a two inch large size
drawing and all you have is a crappy iPhone pic of it and you
want to blow it up to turn it into a comp that you can use,
these exact same techniques will apply. File size. Excuse me
image size and then sharpness, using adjustment layers. So all
of this stuff will apply to multiple uses, not just blowing
up small set - small files.
This is a nice painting actually. I wish I still had Actually. I wish I still had
actually
enjoyed this painting actually. Okay, so I got pretty good
slide and I'm going to activate my mass, just click the button.
As long as - oops. As long as the mask is active you see little
marching ants if you click the alpha button, boom. It'll draw
it perfectly for you.
So right now it's inverted. So I'm going to invert. There you
go. That's what I wanted. So you see before, after.
You see the color start to change. And now what I'm going
to do
is I'm going to try to get rid of some of this noise - some of
this
brightness noise there. I'm just going to draw some purple. I
color pick the purple that was there and then I'm going to do
command U. Going to make a little bit more saturated,
little bit darker. Make sure it's the right temperature of
purple.
So what I want to do is drop the opacity just a little bit
there.
Then what am I going to do now is do a color balance, so color
balance
and I try to increase the warmth
underneath right there over the sun's coming up and then I'm
going to apply a gradient to that. It's not at the top.
There it is.
Rearrange that.
That looks pretty good.
Just making it a little bit more subtle.
So I'm pretty happy with that. That's probably the best I can
do to be honest with you.
It's just way too small. I could probably clean up some of
these things, clean up some of these edges. So let's try
that a little bit.
Now we're getting into dangerous territory because
we're altering the original quite a bit.
You don't do that too much. What I'm going to do is just taking like
a nice textural brushes. Remember we have the ability to make all
sorts of brushes.
This one is a little too texture-y, let's see if I can find a
one that kind of looks like a paint brush a little bit.
This one's not working.
You don't want to use airbrush either because it's not -
it's not
texture enough. It'll feel really unnatural. Let's try
this guy. Let's put on a transfer.
And we'll give it a little bit more spacing, little more
tooth.
There you go. Okay, that should work.
Just want to clean up some of this.
You don't want to do too much because it'll stand out. It
won't look like the painting underneath and that you had to
be careful with but some of these edges are just just
dirty.
You're not - it's not dirt from the painting I don't believe,
that dirt from the
just the ugly low-res slide that we had to work with.
Just to clean up some of these edges little bit you, don't want
to do too much.
Again this is sort of like an emergency
situation you definitely don't want to rely on this. So the this
is again just a useful thing. Also another thing I thought
of too is that
you can do this technique of course for photos. So for
example, if you have a photo of a relative, a long-lost
relative, of course, this would be perfect for
doing a retouching.
All this bottom stuff I like. Just wanted to clean up some we just wanted to clean up some
of the edges up top.
So that looks pretty good. Just cleaned up some of the edges.
They still feel a little natural. There's not too much
of them. And as long as you vary your colors in your work,
should be okay.
Do enough blending and randomness.
I'm trying to
pick colors from the area so it feels a little bit more
random.
And then of course
if you do it too much, you'll lose the texture underneath
which won't seem natural.
Okay, so I think that's about as far as I can go, as far as
doubling the size and optimizing it. I think it looks
pretty good.
So what I'm going to do is
go ahead and merge all my work just so you can see
before and after
so just merge all my work. So this is
optimized before, after. Sky looks a little bit cleaner,
little bit more contrast. So I like that and -
yeah, I think that's as good as we can get. So what I'm
going to do is
check out the file size.
Let's see. It's still - it's still pretty small. I would
consider this may be a good medium size.
So we'll do shift. What I'm going to do is do shift command
S
and want to call this
medium and make sure it's a JPEG. I'm going to save it at
full 12 maximum so it's still it's about 800 k which is perfect.
Under 800 k so, you know, we took a tiny 600 pixel JPEG. We
doubled it, optimized it. It looks pretty good.
And if we want we can even make a web version. So let's go
ahead and do that now.
So duplicate the original
and add some pixels to the bottom
its height. So let's just add 1500. I'm just guessing right
now. Make sure your anchor is at the right spot canvas
extension color. I like it black for this scenario. So
boom.
Bring up your text.
You don't have to use a particular font. You don't even have to
put your website.
You can put your name and the year, whatever you
feel. This is a little too small. So I'm going to change
it from 20 to let's try 30 point.
Okay, it looks pretty good. Got my name there.
I'm going to drop the opacity
a bit more subtle. Okay, then I'm going to crop it.
Crop it pretty tight to the name. Not too tight.
Image, crop.
Merge my work. Now I'm going to do
image, image size. Alt command I is the shortcut. Now I'm going
to make this 900 pixels high. It's a nice maximum width
and I'm going to try save this at a nice small file size.
So 90's too big
85 is a little - still too big. I'm looking at this number here. So
80% quality produces this 247 kilobyte JPEG, which is perfect
size. Hit okay, and now we're done.
And I'll make sure to don't say because right now it's it's
acting as if it was the original file. So let's bring
up all three just to compare, go one. All right, perfect.
So I got one that's 1200 pics high. Hi.
The original 600 picks, crappy JPEG, we optimized it as best as
we could, double the size and added some sharpness and
cleaned up some of the edges and colors and here we made a
newer web version based off our optimized version. So just
basically an emergency
optimization for
the small image size. Okay. So that's the end of the landscape.
The last example will be a still life.
Where is it here?
Okay, so this is one of those
sub optimal conditions. So what happened is I'll tell you a
little back story and this may happen to you is that I painted
this painting
and it sold.
Somebody bought it actually before I could take a good
slide of it. So all I have is is crappy iPhone slide and I
can't get ahold of them, the person who bought it. So this
may happen to you. That's why I wanted to include it and
in this lesson, so let's take a look at what we have to work
with. Oh my God, it's a tiny thing. So what we can do is
probably double its size. We can keep this as the web
version then I could double its size. It's probably the best I
can do to get the most out of this slide,
but definitely not an optimal situation. So first, let's get
rid of all this black stuff.
And there's a couple ways to do that. You can use let's try the
wand. Okay, it's not going to work. So let's try marquee.
So what I'm going to do is I'm going to
I'm going to use the
mask technique to make the edge tight, let's see.
Yeah.
I just inverted the background to white, shortcut is command I
inverts everything so I just want to use the mask to make
sure that my
crop is really tight, get rid of that black space.
This is really unfortunate. I should probably
try to contact the new owner. Okay, so I got my nice tight
crop. Alt, command C. Excuse me, image, crop. Boom. Crop she's image Krupp boom drop
that.
All right. So now I got my thing cropped.
So what can we do here? What can we do?
This was an iPhone shot.
So some of the colors got lost, the contrast is pretty good,
actually iPhone has a pretty nice contrast but a lot of this
stuff is just so messy and noisy. It's really
frustrating to look at. So
first let's double the size. Let's make our canvas a
little bit bigger.
I'm going to alt, command I
and
let's leave the DPI where it is. Let's do percent so I know
it just doubles height and width, 200 percent. All right,
so now let's look total crap.
So what we can do
is first apply some sharpness. Go to filter, sharpen, unsharp
mask and this is way too crazy.
The radius is too big, just looks too unnatural in
Photoshop-y.
All right,
so I like that overall.
Now, let's try to clean up this sky.
I know the painting was little bit more orange, little bit more
purple because a lot of these the colors being washed out by
the reflectivity and that's,
you know, obviously you do, you know, you don't want that when
you're taking a slide. Probably I should have let
it dry.
But you know, it's one of those things where you sure some of
you can relate.
You have a show.
and
you know running down to the wire.
Okay. So what I did was I just did the levels a little bit
just to brighten up the sky, just the hue saturation a
little bit. And so what I want to do is is I kind of want to
separate the sky because the sky
is what looks the worst in my opinion. The bottom stuff is
okay.
So
first thing to do is command plus J to duplicate my background
layer. Then what I'm going to do is I'm going to put these
adjustments in a folder and then I'm going to try to do a
mask around the sky. So first, let me try to use my magic wand
so it's kind of working. Good.
If you hold shift you'll be able to pull this - it's kind of
working, it's good. It's selecting everything but the sky so I'm
pretty happy with that. So what I'm going to do is apply this while
it's active.
Well, let me clean it up first. I know this bottom stuff I
don't need so all that - whoops. All this extra
things that the lasso tool didn't pick up.
And you know, I can always clean up my mask in
with brushes, that's what I like to do to get the tightest
mask possible.
Okay.
And switch to polygons remember holding shift
Gives you the ability to add, alt gives you the ability to
subtract, to cut into your mask.
Yeah, so hopefully you guys won't ever have to do this.
You'll always
be more cautious.
Or
you'll always be ready
to take good slides of your work, of course, be more
professional but you know these things happen and what you're
learning here of course can be applied to your own work
whenever you make - let's say you want to blow up a sketch. Let's
say you do a sketchbook sketch in your Sketchbook and you
lose your Sketchbook and you want to turn that into a nice
high res JPEG. This exact technique will work for that.
Or let's say you're making your own comps. Let's say you draw a
beautiful composition
on a post-it note. It's like a two inch large size
drawing and all you have is a crappy iPhone pic of it and you
want to blow it up to turn it into a comp that you can use,
these exact same techniques will apply. File size. Excuse me
image size and then sharpness, using adjustment layers. So all
of this stuff will apply to multiple uses, not just blowing
up small set - small files.
This is a nice painting actually. I wish I still had Actually. I wish I still had
actually
enjoyed this painting actually. Okay, so I got pretty good
slide and I'm going to activate my mass, just click the button.
As long as - oops. As long as the mask is active you see little
marching ants if you click the alpha button, boom. It'll draw
it perfectly for you.
So right now it's inverted. So I'm going to invert. There you
go. That's what I wanted. So you see before, after.
You see the color start to change. And now what I'm going
to do
is I'm going to try to get rid of some of this noise - some of
this
brightness noise there. I'm just going to draw some purple. I
color pick the purple that was there and then I'm going to do
command U. Going to make a little bit more saturated,
little bit darker. Make sure it's the right temperature of
purple.
So what I want to do is drop the opacity just a little bit
there.
Then what am I going to do now is do a color balance, so color
balance
and I try to increase the warmth
underneath right there over the sun's coming up and then I'm
going to apply a gradient to that. It's not at the top.
There it is.
Rearrange that.
That looks pretty good.
Just making it a little bit more subtle.
So I'm pretty happy with that. That's probably the best I can
do to be honest with you.
It's just way too small. I could probably clean up some of
these things, clean up some of these edges. So let's try
that a little bit.
Now we're getting into dangerous territory because
we're altering the original quite a bit.
You don't do that too much. What I'm going to do is just taking like
a nice textural brushes. Remember we have the ability to make all
sorts of brushes.
This one is a little too texture-y, let's see if I can find a
one that kind of looks like a paint brush a little bit.
This one's not working.
You don't want to use airbrush either because it's not -
it's not
texture enough. It'll feel really unnatural. Let's try
this guy. Let's put on a transfer.
And we'll give it a little bit more spacing, little more
tooth.
There you go. Okay, that should work.
Just want to clean up some of this.
You don't want to do too much because it'll stand out. It
won't look like the painting underneath and that you had to
be careful with but some of these edges are just just
dirty.
You're not - it's not dirt from the painting I don't believe,
that dirt from the
just the ugly low-res slide that we had to work with.
Just to clean up some of these edges little bit you, don't want
to do too much.
Again this is sort of like an emergency
situation you definitely don't want to rely on this. So the this
is again just a useful thing. Also another thing I thought
of too is that
you can do this technique of course for photos. So for
example, if you have a photo of a relative, a long-lost
relative, of course, this would be perfect for
doing a retouching.
All this bottom stuff I like. Just wanted to clean up some we just wanted to clean up some
of the edges up top.
So that looks pretty good. Just cleaned up some of the edges.
They still feel a little natural. There's not too much
of them. And as long as you vary your colors in your work,
should be okay.
Do enough blending and randomness.
I'm trying to
pick colors from the area so it feels a little bit more
random.
And then of course
if you do it too much, you'll lose the texture underneath
which won't seem natural.
Okay, so I think that's about as far as I can go, as far as
doubling the size and optimizing it. I think it looks
pretty good.
So what I'm going to do is
go ahead and merge all my work just so you can see
before and after
so just merge all my work. So this is
optimized before, after. Sky looks a little bit cleaner,
little bit more contrast. So I like that and -
yeah, I think that's as good as we can get. So what I'm
going to do is
check out the file size.
Let's see. It's still - it's still pretty small. I would
consider this may be a good medium size.
So we'll do shift. What I'm going to do is do shift command
S
and want to call this
medium and make sure it's a JPEG. I'm going to save it at
full 12 maximum so it's still it's about 800 k which is perfect.
Under 800 k so, you know, we took a tiny 600 pixel JPEG. We
doubled it, optimized it. It looks pretty good.
And if we want we can even make a web version. So let's go
ahead and do that now.
So duplicate the original
and add some pixels to the bottom
its height. So let's just add 1500. I'm just guessing right
now. Make sure your anchor is at the right spot canvas
extension color. I like it black for this scenario. So
boom.
Bring up your text.
You don't have to use a particular font. You don't even have to
put your website.
You can put your name and the year, whatever you
feel. This is a little too small. So I'm going to change
it from 20 to let's try 30 point.
Okay, it looks pretty good. Got my name there.
I'm going to drop the opacity
a bit more subtle. Okay, then I'm going to crop it.
Crop it pretty tight to the name. Not too tight.
Image, crop.
Merge my work. Now I'm going to do
image, image size. Alt command I is the shortcut. Now I'm going
to make this 900 pixels high. It's a nice maximum width
and I'm going to try save this at a nice small file size.
So 90's too big
85 is a little - still too big. I'm looking at this number here. So
80% quality produces this 247 kilobyte JPEG, which is perfect
size. Hit okay, and now we're done.
And I'll make sure to don't say because right now it's it's
acting as if it was the original file. So let's bring
up all three just to compare, go one. All right, perfect.
So I got one that's 1200 pics high. Hi.
The original 600 picks, crappy JPEG, we optimized it as best as
we could, double the size and added some sharpness and
cleaned up some of the edges and colors and here we made a
newer web version based off our optimized version. So just
basically an emergency
optimization for
the small image size. Okay. So that's the end of the landscape.
The last example will be a still life.
AUTO SCROLL
The still life is pretty straightforward. It's a lot
like the
portrait that we did. So now you're going to see how I
optimized this slide of a still life. Alright, let's open our
slide.
So again, this is going to be a
a RAW file from my Olympus camera, this one right here.
So when you try to open it in Photoshop, you bring up camera
RAW and just going to leave it as is. Right now the default
settings. I'm going to all of my optimization in Photoshop.
So open the image.
So obviously right away we need to do two things. We need to
crop and rotate. So let's start with the rotation. So if you
haven't already make sure you have your hotkey to rotate and
flip canvas. I'm going to do counterclockwise rotation,
obviously. So my hotkey is set to shift F two and baboom. And
of course, it's also here, image, image rotation. You can see my
hotkeys.
Okay. So now we have a crop. Now now.
to be honest, I don't really want to keep all of this mess
as I want to keep it tight. I'm just going to go straight crop
tool. It's going to be straight crop tool. The shortcut is C.
And what I like about crop tool too is it kind of darkens what's
outside of the boundaries? You can kind of - you can kind of see
a little bit what the crop would look like, kind of like what we
did with the portrait.
So just left to right. How much do you want to keep, how tight
do you want it, that's really up to you at this point.
Remember we really can't undo this part.
So once we commit to a crop, we have to reopen the file if we
don't like it.
So actually I don't like a lot of this stuff.
Looks pretty good.
I'm going to do a canvas flip just to test it - that looks okay.
Looks okay.
There's a lot of this noise, this brushy stuff I didn't
want to keep. Brushy stuff probably should not
keep that either actually, all this stuff right here on the
left side.
Just clean that up a little bit. Of course, you can use or
you can repair it in Photoshop if you want. Alright. So first You want it? Alright. So first
the contrast seems a little flat.
Then I shot this one in the shade as well.
So I like to use levels.
Looks pretty cool.
A lot more contrasty.
You can see the nice texture. I don't think we'll need too much
sharpening with this one. This was a pretty good slide. This was a
really nice
shot slide. This is ideal.
So I like that I'm just going to merge it down. just going to merge it down.
And now I'm going to do a
subtle hue saturation
just increase the sat a little bit.
Don't want to go too far.
Like 10% right there, real subtle.
So I like that.
Going to drop the opacity a little bit.
Okay, then merge it down.
So I like that.
The last thing I want to do is
let's look at the sharpness real quick. So just duplicate
this. So go to filter, sharpen, unsharp mask.
Looks pretty good right there, just wanna
do an overall sharpness kind of like that.
Just makes the slide look really crisp. I like that. So
drop the opacity again, about 20% just to make it more subtle.
I like that. So this is before, after, I'm gonna zoom in. Before or
before, after look at the details, little bit sharper, just
subtle enough.
And the last thing I want to do is let's patch these up because
that just looks - that just looks ugly and I don't want to crop it
even more.
This is sort of a dirty trick, but
Who's going to know, right? Who's gonna know? So what I'm doing
is clone stamp tool the shortcut is S. So, I'm going to
pick this area, just hit - hold alt and click the crosshair. So
that's my anchor point and then just subtly brush to close that
bit of plain white canvas, do the same thing for this half.
Just a subtle.
Same thing for this little pink area, and I'm going to mess
with that, that's too big, and I kind of like it. Maybe this one
I can play with a little bit. It's just really subtle, just
killing some of that bare white canvas, you know, it's
kind of ugly looking back. I should have
toned this canvas. Wouldn't be so ugly. It wouldn't be peeking
through so ugly like that.
This is before, after, it's pretty good. I like that.
So I liked it so much it's going to be heading merge my
work. So now pretty happy,
you know, I could do a couple more things to increase.
Let's try -
what I'm gonna try to do is
do the - make the highlight pop a little bit more. So what I did
was a brightness contrast, see the make the area brighter and
I'm going to use the vignette technique, which is basically
putting a mask on it, inverting it, right? So that it doesn't
show through. It's there but you can't see it because it's
masked out and then using a white with the gradient tool or
a brush to - boop - to bring it back only in the area that I
want which is the highlight.
See if I like that. It's a little
too bright, I think.
Make it a little bit more subtle.
I like that. I like that. Let's make it a little bit more
subtle. 29%. There you go. percent. There you go.
Boom. So I like that. All right, so we did some repair
work.
Now I'm pretty happy. Let's save it as the large file size.
So let's check the image size. 300 DPI.
This is a fairly small painting. It's a little
nine inch painting. So
yeah, this is a nice full size file. Going to shift command S,
change the format to TIFF.
I'm going to call it a pear underscore large.
And hit save, make sure my image compression is none, boom.
Ready to go.
We got a nice full size TIFF.
So next we need a medium. So I'm going to show you guys an
interesting technique.
So we want - we want three, right? We want medium and a small and
I want to keep this file open, but still have my new files, my
new version. So what I'm going to do is because this is merged,
right, it's flattened. It's my beautiful large full-size
optimized slide. This is the most - as good as it's is the most as good as it's
going to get, right? The most pixels, full size. So what I'm going
to do is I'm going to select all so command A, then I'm going
to copy command C. What that does is it copies this layer
which is my full optimized painting onto the clipboard of
Photoshop or actually clipboard of the computer. So what
I'm gonna do is once I hit command C it copies the
clipboard then I'm going to do file new. So command N is the
shortcut. And what this will do if you look up top it says
document type clipboard, what it is it's reacting to the fact
that I have some pixels and image copied to the clipboard
which is a virtual clipboard then I'm going to hit okay.
And it has the pixel size and resolution all set up because
it's copying what's on the clipboard
and then when I have this new document open or created,
command new, I'll do a command V which is paste. Boom. So now I
have two documents that have the exact same thing.
And this one I'm going to turn it to my medium. So do alt
command I.
Turn it to my medium file size. Let's drop the pixel resolution a
little bit and let's see pixels. Let's take it to -
what's a good medium file size? Let's do 1,200.
Well, let's do 2000.
Because it's really about the file size is more important to
me.
Try to keep the file size under a megabyte. Oh, that's too
small. So let's do command Z. Woah, that's too big. What I
meant to do was 200 DPI at
2,000 pixels not 200. 2000 pixels max height. All right
now we're good to go. Oops.
So now I can do alt command I, looking good. Now I can do alt
command - well, let me merge it here and paste it to a new
layer. So it's not merged. I'm going to merge it down, command
E. Now I have a flattened medium sized image. I'm going to save
for -
save for web. Shift alt command S
and let's see if we can get it to around a megabyte. That's a
nice medium file size.
75 let's try 77 is pretty good. 1.02 megs this was pretty,
pretty close. It's fudging a little bit so hit save and then
I'm going to call it
pear underscore medium or med and saved as a JPEG, dot JPEG. JPG hit
save. But boom.
So what happened is saved it virtually
Right now this is still the virtual PSD files. I'm going to
open or just to bring it on screen. So we have it on
screen.
Did I save it? Yes, there it is.
Okay. So now -
so you see that?
The medium sized, get my full large, have 25% still pretty big. My
medium have 25 percent, right? It's smaller. So now what we
have is this one, which has all the settings, that image size
settings
of the medium. So now we can keep going and make
an even smaller file size for web. So what I'm gonna do is
I'm going to - well first I'm going to expand the canvas, but
let me try - let me just try to write on here. I don't really
care about
this bottom half. I'm not going to write my website. Just going
to put my name and the date, whatever.
This font is - font is too ugly. Let's try
Trajan, which is a movie set font.
There it is Trajan three, let's try Trajan regular. Okay, stretch region regular. Okay,
and you can get any font on the web. It's very easy to just do
a Google search.
Almost any font. Make sure the file size is 30 point is too
big. Let's go to l 20. See what that looks like.
Yeah, that's nice file size and I'm going to drop the opacity
to make it a little bit more subtle. Perfect. About 30
percent, perfect. So I don't need that extra black bar for
this example. So now I'm going to do alt command I and I want
to save this at 150 DPI. Just give me a little bit more
pixels and max height 900 pixels. There you go. Boom.
Now do alt shift command S
and
around 250 to 300 is pretty good. So I have a little bit
more room. So to 78 - 78 is pretty good.
Hit save. We'll call it pear underscored low and make sure
it's set to JPEG. It saved ba boom. So now I don't need this,
ba boom, don't say we just made a virtual file from the
clipboard, remember. Now, I'm going to open the small
version you can see it on screen.
There it is. Ba boom. Yeah.
So this one's at - I'll show you this one. This one's at 50%, this is
at 25 percent our medium. Our full size is that we'll blow it
up to 100. Wow, that's huge medium or low 100%, very small
compared to the big guy. Our medium that 100%. in our medium that 100%
About half the size of the full. So we got three different
versions ready to go. Alright, so that was the pear. So this
was an example of what happens when the slide is taken really
well. Notice this one went a lot faster than say the
portrait. A lot of the stuff we didn't really need to do but
I just wanted to show you just for fun. And that's the end of
the assignment. I hope you
found this useful. I can probably - I can imagine the
lights going off in your head you're like, wow. I'm going to
try it on my slides or my photos blah, blah, blah, blah, blah. You
learned a lot of stuff in this lesson, so please review, review,
review, and practice. Don't stop at this assignment. Bring your
own slides next, keep practicing, keep experimenting, and you'll
get this down no problem. So with that that's the end of the
assignment and I'll talk to you later.
Okay. Hope you enjoyed the lesson. Now, we went over a lot
of Really powerful and useful techniques for optimizing your
slides of your artwork. But remember it's best to shoot the
best slide you can, do whatever it takes to take great pictures
of your artwork, of course, but of course Photoshop is there so
that you can really maximize the look of your work and
you can really make your work look as best as they possibly
can.. Now you know how you can show off your work no matter
what format you're using. We just covered a couple. You can
use it for web, for print, and even just to show off in your
portfolio. Now you know how to do that. You can let your
imagination run wild and now you have a powerful new set of
tools that you can use to make your artwork look as best as
possible. So hope you enjoyed this lesson and I'll see you
next time.
like the
portrait that we did. So now you're going to see how I
optimized this slide of a still life. Alright, let's open our
slide.
So again, this is going to be a
a RAW file from my Olympus camera, this one right here.
So when you try to open it in Photoshop, you bring up camera
RAW and just going to leave it as is. Right now the default
settings. I'm going to all of my optimization in Photoshop.
So open the image.
So obviously right away we need to do two things. We need to
crop and rotate. So let's start with the rotation. So if you
haven't already make sure you have your hotkey to rotate and
flip canvas. I'm going to do counterclockwise rotation,
obviously. So my hotkey is set to shift F two and baboom. And
of course, it's also here, image, image rotation. You can see my
hotkeys.
Okay. So now we have a crop. Now now.
to be honest, I don't really want to keep all of this mess
as I want to keep it tight. I'm just going to go straight crop
tool. It's going to be straight crop tool. The shortcut is C.
And what I like about crop tool too is it kind of darkens what's
outside of the boundaries? You can kind of - you can kind of see
a little bit what the crop would look like, kind of like what we
did with the portrait.
So just left to right. How much do you want to keep, how tight
do you want it, that's really up to you at this point.
Remember we really can't undo this part.
So once we commit to a crop, we have to reopen the file if we
don't like it.
So actually I don't like a lot of this stuff.
Looks pretty good.
I'm going to do a canvas flip just to test it - that looks okay.
Looks okay.
There's a lot of this noise, this brushy stuff I didn't
want to keep. Brushy stuff probably should not
keep that either actually, all this stuff right here on the
left side.
Just clean that up a little bit. Of course, you can use or
you can repair it in Photoshop if you want. Alright. So first You want it? Alright. So first
the contrast seems a little flat.
Then I shot this one in the shade as well.
So I like to use levels.
Looks pretty cool.
A lot more contrasty.
You can see the nice texture. I don't think we'll need too much
sharpening with this one. This was a pretty good slide. This was a
really nice
shot slide. This is ideal.
So I like that I'm just going to merge it down. just going to merge it down.
And now I'm going to do a
subtle hue saturation
just increase the sat a little bit.
Don't want to go too far.
Like 10% right there, real subtle.
So I like that.
Going to drop the opacity a little bit.
Okay, then merge it down.
So I like that.
The last thing I want to do is
let's look at the sharpness real quick. So just duplicate
this. So go to filter, sharpen, unsharp mask.
Looks pretty good right there, just wanna
do an overall sharpness kind of like that.
Just makes the slide look really crisp. I like that. So
drop the opacity again, about 20% just to make it more subtle.
I like that. So this is before, after, I'm gonna zoom in. Before or
before, after look at the details, little bit sharper, just
subtle enough.
And the last thing I want to do is let's patch these up because
that just looks - that just looks ugly and I don't want to crop it
even more.
This is sort of a dirty trick, but
Who's going to know, right? Who's gonna know? So what I'm doing
is clone stamp tool the shortcut is S. So, I'm going to
pick this area, just hit - hold alt and click the crosshair. So
that's my anchor point and then just subtly brush to close that
bit of plain white canvas, do the same thing for this half.
Just a subtle.
Same thing for this little pink area, and I'm going to mess
with that, that's too big, and I kind of like it. Maybe this one
I can play with a little bit. It's just really subtle, just
killing some of that bare white canvas, you know, it's
kind of ugly looking back. I should have
toned this canvas. Wouldn't be so ugly. It wouldn't be peeking
through so ugly like that.
This is before, after, it's pretty good. I like that.
So I liked it so much it's going to be heading merge my
work. So now pretty happy,
you know, I could do a couple more things to increase.
Let's try -
what I'm gonna try to do is
do the - make the highlight pop a little bit more. So what I did
was a brightness contrast, see the make the area brighter and
I'm going to use the vignette technique, which is basically
putting a mask on it, inverting it, right? So that it doesn't
show through. It's there but you can't see it because it's
masked out and then using a white with the gradient tool or
a brush to - boop - to bring it back only in the area that I
want which is the highlight.
See if I like that. It's a little
too bright, I think.
Make it a little bit more subtle.
I like that. I like that. Let's make it a little bit more
subtle. 29%. There you go. percent. There you go.
Boom. So I like that. All right, so we did some repair
work.
Now I'm pretty happy. Let's save it as the large file size.
So let's check the image size. 300 DPI.
This is a fairly small painting. It's a little
nine inch painting. So
yeah, this is a nice full size file. Going to shift command S,
change the format to TIFF.
I'm going to call it a pear underscore large.
And hit save, make sure my image compression is none, boom.
Ready to go.
We got a nice full size TIFF.
So next we need a medium. So I'm going to show you guys an
interesting technique.
So we want - we want three, right? We want medium and a small and
I want to keep this file open, but still have my new files, my
new version. So what I'm going to do is because this is merged,
right, it's flattened. It's my beautiful large full-size
optimized slide. This is the most - as good as it's is the most as good as it's
going to get, right? The most pixels, full size. So what I'm going
to do is I'm going to select all so command A, then I'm going
to copy command C. What that does is it copies this layer
which is my full optimized painting onto the clipboard of
Photoshop or actually clipboard of the computer. So what
I'm gonna do is once I hit command C it copies the
clipboard then I'm going to do file new. So command N is the
shortcut. And what this will do if you look up top it says
document type clipboard, what it is it's reacting to the fact
that I have some pixels and image copied to the clipboard
which is a virtual clipboard then I'm going to hit okay.
And it has the pixel size and resolution all set up because
it's copying what's on the clipboard
and then when I have this new document open or created,
command new, I'll do a command V which is paste. Boom. So now I
have two documents that have the exact same thing.
And this one I'm going to turn it to my medium. So do alt
command I.
Turn it to my medium file size. Let's drop the pixel resolution a
little bit and let's see pixels. Let's take it to -
what's a good medium file size? Let's do 1,200.
Well, let's do 2000.
Because it's really about the file size is more important to
me.
Try to keep the file size under a megabyte. Oh, that's too
small. So let's do command Z. Woah, that's too big. What I
meant to do was 200 DPI at
2,000 pixels not 200. 2000 pixels max height. All right
now we're good to go. Oops.
So now I can do alt command I, looking good. Now I can do alt
command - well, let me merge it here and paste it to a new
layer. So it's not merged. I'm going to merge it down, command
E. Now I have a flattened medium sized image. I'm going to save
for -
save for web. Shift alt command S
and let's see if we can get it to around a megabyte. That's a
nice medium file size.
75 let's try 77 is pretty good. 1.02 megs this was pretty,
pretty close. It's fudging a little bit so hit save and then
I'm going to call it
pear underscore medium or med and saved as a JPEG, dot JPEG. JPG hit
save. But boom.
So what happened is saved it virtually
Right now this is still the virtual PSD files. I'm going to
open or just to bring it on screen. So we have it on
screen.
Did I save it? Yes, there it is.
Okay. So now -
so you see that?
The medium sized, get my full large, have 25% still pretty big. My
medium have 25 percent, right? It's smaller. So now what we
have is this one, which has all the settings, that image size
settings
of the medium. So now we can keep going and make
an even smaller file size for web. So what I'm gonna do is
I'm going to - well first I'm going to expand the canvas, but
let me try - let me just try to write on here. I don't really
care about
this bottom half. I'm not going to write my website. Just going
to put my name and the date, whatever.
This font is - font is too ugly. Let's try
Trajan, which is a movie set font.
There it is Trajan three, let's try Trajan regular. Okay, stretch region regular. Okay,
and you can get any font on the web. It's very easy to just do
a Google search.
Almost any font. Make sure the file size is 30 point is too
big. Let's go to l 20. See what that looks like.
Yeah, that's nice file size and I'm going to drop the opacity
to make it a little bit more subtle. Perfect. About 30
percent, perfect. So I don't need that extra black bar for
this example. So now I'm going to do alt command I and I want
to save this at 150 DPI. Just give me a little bit more
pixels and max height 900 pixels. There you go. Boom.
Now do alt shift command S
and
around 250 to 300 is pretty good. So I have a little bit
more room. So to 78 - 78 is pretty good.
Hit save. We'll call it pear underscored low and make sure
it's set to JPEG. It saved ba boom. So now I don't need this,
ba boom, don't say we just made a virtual file from the
clipboard, remember. Now, I'm going to open the small
version you can see it on screen.
There it is. Ba boom. Yeah.
So this one's at - I'll show you this one. This one's at 50%, this is
at 25 percent our medium. Our full size is that we'll blow it
up to 100. Wow, that's huge medium or low 100%, very small
compared to the big guy. Our medium that 100%. in our medium that 100%
About half the size of the full. So we got three different
versions ready to go. Alright, so that was the pear. So this
was an example of what happens when the slide is taken really
well. Notice this one went a lot faster than say the
portrait. A lot of the stuff we didn't really need to do but
I just wanted to show you just for fun. And that's the end of
the assignment. I hope you
found this useful. I can probably - I can imagine the
lights going off in your head you're like, wow. I'm going to
try it on my slides or my photos blah, blah, blah, blah, blah. You
learned a lot of stuff in this lesson, so please review, review,
review, and practice. Don't stop at this assignment. Bring your
own slides next, keep practicing, keep experimenting, and you'll
get this down no problem. So with that that's the end of the
assignment and I'll talk to you later.
Okay. Hope you enjoyed the lesson. Now, we went over a lot
of Really powerful and useful techniques for optimizing your
slides of your artwork. But remember it's best to shoot the
best slide you can, do whatever it takes to take great pictures
of your artwork, of course, but of course Photoshop is there so
that you can really maximize the look of your work and
you can really make your work look as best as they possibly
can.. Now you know how you can show off your work no matter
what format you're using. We just covered a couple. You can
use it for web, for print, and even just to show off in your
portfolio. Now you know how to do that. You can let your
imagination run wild and now you have a powerful new set of
tools that you can use to make your artwork look as best as
possible. So hope you enjoyed this lesson and I'll see you
next time.
Reference Images
Free to try
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1. Course Alert
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1. Learning Recommendation
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1. Advanced Image Adjustments
30m 58sNow playing...
Watch the whole lesson with a subscription
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2. Repairing Your Slides
34m 47s -
3. Assignment
24s -
4. Assignment Demo I
17m 27s -
5. Assignment Demo II
16m 29s
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